
Class XJ^jO: 

Copyright N"_/^i^ 

CDEffilGHT DEPOSIT. 



A COMPLLTL COURSE 
IN MILLINERY 

Twenty-four Practical Lessons Detail- 
ing the Processes for Mastering the 

ART OF MILLINERY 



A Text Book for Teachers of Millinery. A 
Guide for the Millinery Workroom. Especially 
Compiled to Provide Complete and Practical 
Lessons for the Student in Shop or School or 
at Home. Incorporates all the methods which 
experienced Milliners employ to lighten their 
tasks and make easy the most difficult processes 



Founded on Lessons in Millinery from 
THE ILLUSTRATED MILLINER, NEW YORK 

Arranged by Julia Bottomley, 1914 

Revised by 
Emma Maxwell Burke, 1919 



Published by 

THE ILLUSTRATED MILLINER CO. 
NEW YORK 



1^ 1^ 



Copyrighted 1919 

by 

THE ILLU5TRATLD MILLINLR CO. 

New York 



Entered According to Act of Congress 

In the Office ot the Librarian of Congress 

Washington, D. C. 

All Rights Reserved 



A Revision of Practical Millinery Lessons 

Copyright 1905 

Grosvenor K. Glenn 

Copyright 1914 
THL ILLU5TRATLD MILLINLR CO. 



Edition of 1919 "^Z y ' 



C 

*/ 



©CI,A5668y5 



A COMPLETE COURSE IN MILLINERY 



INDEX TO LESSONS 



Preparation for Lessons ..... 

The Work Table . 

^ Tools and Findings Necessary . 

Lesson T . . . To Make a One-Piece Wire Frame 

Lesson II. . . To Make a Two-Piece Wire Frame 

Lesson III . . The Stitches Used in Millinery 

Lesson IV . . To Cover a Wire Frame . 

Lesson V. . . Covering Hat Foundations 

Lesson VI . . Sewing Braid in Fancy Forms , 

Lesson VII . . Lining the Crown 

Lesson VIII. . Making Hat Bandeaux 

Lesson IX . i Making Buckram Frames 

Lesson X . . Varying the Buckram Frame 

Lesson XI . . Emergencies in Frame Making 

Lesson XII . . Covering the Buckram Frame 

Lesson XIII. . Brim Finishes . 

Lesson XIV . . Covering the Crown. 

Lesson XV . . Folds and Hems 

Lesson XVI . . Brim Bindings . 

Lesson XVII . French Design Work 

Lesson XVIII . Five Different Crowns 

Lesson XIX . . Draping Crowns and Velvet 

Lesson XX . . Transparent Hats 

Lesson XXI . . Transparent Brims . 

Lesson XXII. . Bows and Other Fancies . 

Lesson XXIII . Shirrings, Rosettes and Buckles 

Lesson XXIV . Wiring Ribbon . 

Lesson XXV . . Bows and Rosettes 

Lesson XXVI . Renovating Stocks 

Steaming Velvets and 
Steaming Malines 
Renovating Flowers 
Tinting Flowers 
Cleaning Laces . 
Tinting Braids . 
To Make Various Colors 



A COMPLETE COURSE, IN MILLINERY 




lfi.fv 


jii 




* 



RIAKIE ANTOINETTE WITH A ROSE 
Poi-trait painted by Mme. Vigree L,ebrun, now in tlie Louvre, Paris 



Marie Antoinette, Louis XVI's queen, introduced, the turban, ever since a 
favored form of headdress. This highly ornate turban was created by the 
court milliner. Rose Bertin. How highly the queen esteemed this headdress 
is evidenced by her selecting it when posing for this portrait, which she 
realized would perpetuate, not only her features, but her taste in dress as 
well. This turban is universally recognized by artists as a classic in compo- 
sition, though combining a multitude of different trimmings; there are em- 
ployed plumes, a metallic flower, a jewelled cabochon, ribbons, lace, gauze 
and velvet. Beauty of contour and faultless taste are maintained, notwith- 
standing. 



PREPARATION FOR LESSONS 

Light — Necessary Supplies — Tools 

When taking up the study of millinery, one should approach it 
neither with fear nor an overconfidence. 

A lady once said, "To see a velvet hat, its perfect binding, its ar- 
tistic folds, its smooth surfaces and delicate curves, with never a 
stitch showing, nor a hint of its supporting structure, fills me with 
awe, as in the presence of a "mystery." 

But be it remembered that what has been done by one human 
being, in all ordinary cases, can be accomplished by another, with 
persistence and care. 

The hat is not made at one "fell bound," but little by little the 
art is acquired, each step following the last in natural sequence and 
each step neither difficult nor unpleasant. 

To approach the subject in this spirit is never to feel fear. 

The overconfidence usually comes with the tiatural milliner. 
There is no such person ! One may possess a natural aptitude for 
the art, but when the assumption is made that the person in ques- 
tion "only needs a lesson or two, for she makes all our hats at home," 
you can safely depend upon the fact that the hats look it! 

A man may deem himself a natural carpenter, but he does not 
dare to build a house until he has learned how to lay the foundation, 
raise the superstructure, put in the chimney, weatherboard and roof 
it, and then the interior finish has to come afterward. 

In making a hat, it is equally necessary that a person be skilled 
in making the frame, strongly bracing it, padding the edge, and then 
putting on the velvet, silk or braid, in a workmanlike way. The 
finishing comes on the outside, in the choice of trimming, which 
must be made in a certain manner, and arranged for artistic effect. 

The "natural milliner" is especially hard to teach, because of 
preconceived opinions, which are usually wrong. So the first step 
is to unlearn before beginning instruction. 

Taste and ability vary in individuals, and no one is so glad to 
discover one or both as the instructor, who will do everything in her 
power to develop them. 

These lessons are in daily use in hundreds of classes in Domestic 



A COMPLETE COURSE IN MILLINERY 

Arts, in school everywhere. They have been most carefully revised 
for this edition. Thousands of students have qualified for the 
trade, hundreds have opened businesses of their own. Others 
have used the lessons for self-instruction. All have been equally 
successful. 

If each of these lessons is mastered in turn, the next one will 
not be difficult. With an open mind and cheerful heart we will 
now look to the necessities for beginning. 

Good Light Very Essential 

Light is the first requisite. Light, and lots of it. Not the direct 
rays of the sun, but a strong light diffused through a thin curtain or 
frosted glass. The position is preferable if the light could fall over 
the left shoulder. 

A table for our work is the next consideration. A plain kitchen 
table with a drawer fills all requirements. Cover it with a sheet or 
some white cotton cloth, doubled several times. Be careful that 
the cloth has no nap to rub off on velvet. Secure the cloth by a 
few tacks underneath the table edge. These can be easily removed 
so that the cloth can be washed. 

Do not make the mistake of using oilcloth, for no oilcloth made 
but will gather an infinitesimal dust, which will show on white velvet 
or a clean duster, when it is rubbed over the oilcloth surface. 

Have a comfortable chair, low enough, so the feet come squarely 
on the floor, without undue pressure on the edge of thei seat. For one 
who sits long hours too much care cannot be given to the nature 
of the chair. The old fashioned wooden Windsor chair is preferable 
to any other because the seat never sags, causing pressure on the 
edge. If the seat is too hard, use a thin cushion. 

The table should be furnished with a small piece of hard wood 
into which have been driven a half dozen headless wire nails for a 
spool rack. The wood should be sufficiently heavy and broad to 
hold the spools upright and not turn over. This rack will hold the 
four spools which will be enumerated later, and the two empty nails 
are for colored thread, as it may be needed. 

A flat tray for pins is better than a cushion, for when the pins 
are being taken out of a piece of work it is very much easier to put 
them on a tray than to stick them in a cushion, and they are no 
harder to get when used. 



A COMPLETE COURSE IN MILLINERY 

The following list comprises the necessary furnishings for a 
beginner : 

1 spool of white millinery thread No. 24 

1 spool of black millinery thread No. 24 

1 ordinary white sewing thread No. 60 

1 spool ordinary black sewing thread No. 60 

1 paper of millinery needles No, 5 

1 paper of sharps No. 8 for fine work 

1 apron, 1 tape line, 1 notebook, 1 pencil 

1 pair of shears, 8 inches long 

1 pair smaller scissors, with sharp points 

1 wooden foot rule, 1 pair of millinery pliers 

1 paper of pins, 1 piece of white brace wire 

1 piece of black brace wire, 1 spool of black tie wire 

1 spool of white tire wire, 1 spool of uncovered tie wire 

Other materials can be purchased as needed. It is well to keep 
a flat basket on the table, with all the tools of construction in it. 
A few aluminum thimbles are always a convenience, for it never 
pays to expend time in hunting anything. The spool rack, basket 
and pin tray should be kept on the table, and with the work on hand 
can be covered at night with a cloth. The remainder of the furnish- 
ings can be placed in the drawer of the table. 

The work table should always be near a gas plate or stove, 
where a pressing iron can be heated or a tea kettle boiled for steam. 

Millinery Thread 

Millinery thread is specially prepared for the art of hat making. 
It is well twisted and heavily waxed so that it will glide through 
fabrics easily. It unwinds like wire and must always be caught in 
the slit of the spool. 

Millinery Needles 

No. 24 millinery thread requires a No. 5 millinery needle, and 
these are the sizes used in all the heavier parts of hat construction. 
The thread is made so strong in order that fewer stitches may be 
required, and the length of the needle is for reaching spaces that 
otherwise could not be covered. 



A COMPLETE COURSE. IN MILLINERY 

Threading the Needle 

When threading the needle, hold the thread taut between the 
thumb and fingers of the left hand and cut the thread on the bias. 
This gives it a point which be careful not to touch, and it will go 
through the eye of the needle without any trouble. If the thread is 
broken off, cut square or dampened, it will loosen the wax, fray and 
make it difficult to thread. 

When finer thread is required, never use silk. Silk thread is an 
abomination to the milliner, although it sometimes has to be employed 
because a color cannot be matched in any cotton thread. When silk 
is used for gathering it frays out and breaks. A knot made of it 
is liable to slip. For the same reasons the mercerized cotton thread 
is not desirable. Get the fine, hard twisted cotton thread for* fine 
work; it can be depended upon. 

Millinery Wires 

As to the wires, the ordinary frame or brace wire may be 
covered with silk or cotton, but never get that which is covered with 
paper or a slack, flimsy cotton covering that frays at sight. The 
wire must be firmly covered, to make a good frame. If the braid or 
fabric to be used in the construction of the hat is such that the? 
frame will not show through, the uncovered tie wire can be used. 
But if it is transparent or has interstices that will^ reveal the frame, 
the tie wire must be covered to match thei brace wire. Covered 
tie wire is never as strong as the uncovered, and consequently has 
to be used with greater care or it will break under the twisting of 
the pliers. 

The Useful Notebook 

Nothing is more useful than a notebook. There are constantly 
coming up items worth preserving, which if fastened to paper will 
stay with you, while otherwise they would vanish away. 

Millinery Pliers 

It is economy to buy the best millinery pliers and scissors. They 
should be of the best steel, as they last a lifetime. See that the tip 
of the plier will hold a tie wire, so that it can be twisted. Sometimes 
the wire cutter on the side of the blade holds the tip of the pliers 
apart, when they are almost useless for frame making. 

With these preparations we are now ready for the first lesson. 

8 



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^^F/ 


^ LESSON I ^^^H 

To Make a One-Piece Wire Frame '^^B 

-- The Hat's Foundation r— "^^ffil 






Mil K^^^i 



When we build a house, we first assemble the material. 
The next thing requisite is to be able to use the tools. We will 
now build a wire frame, and to. do so acquaint ourselves with 
the use of the millinery pliers. Hunt up an old wire hat frame, 
cut the wires, until you use the pliers with ease, and can make 
a clean cut without tearing out the covering of the wire 
(Figure 1). Next learn to catch the end of the wires with 
the pliers, and turn them down at right angles. Now take two 
pieces of wire and cross them, and put the wire around them 




:^. 



Figure 1 
Cutting wire with pliers. 



Figure 7r 



The wire placed around 
intersection. 



(Figure 2). Hold the two pieces of wire in the left hand, and 
manage the tie wire and pliers with the right. Twist the tie 
wire around the crossed wires (Figure 3), cut off the wire, 



A COMPLETE COURSE IN MILLINERY 

leaving about one-quarter of an inch, which press down with 
the pHers. 

The one-piece frame is much simpler than the two-piece 
frame. If the headsize of a one-piece frame fits as it should, 
the crown is necessarily not very large, and if fashion dictates 
a large crown the headsize must be correspondingly large, and 
a bandeau used to make it fit the head. 

A frame is made of regular frame wire, either silk or cot- 
ton covered, but we designate the wires that run up and down 
and those that run around the frame by different names. 

The wires that go around the frame on the outside and 
give its real shape are called stay wires. Those that proceed 
from the crown center to the brim edge are called brace wires, 
because they brace the stay wires in position. When the crown 
is separate the stay wires at the top and bottom are called re- 
spectively the crown top and the crown base. The outer stay 



^H. 



Figure 3 




Tie wire twisted. To be cut 
near intersection. 



Figure 4 
Placing the " head size " wire. 



wire of the brim is called the edge wire, and the circle that 
comes next to the head is called the headsize. In a one-piece 
frame the headsize and the crown base are the same wire. 



10 



A COMPLETE COURSE IN MILLINERY 
The One-Piece Frame 
Cut four pieces of frame wire from a bolt, each 25 incher^ 
in length. It will be easiest to straighten out each 25 inches as 
you cut it. Hold the end of the wire in the left hand, letting 
the rest of it curve out and downward. Pass the wire through 
the right hand, with the thumb pressed hard between the first 
and second fingers, holding the fingers the least bit apart. Draw 
the wire through the fingers, pulling by the left hand, until it is 
straightened perfectly. Never try to do this by sudden bends 
along the wire's length, or it will be in notches. Take the f oui^ 
pieces of wire, form them into a bundle, side by side, tie them 
in the middle with the tie wire wrapped about them three or 
four times and twisted up, not too tightly,, as the wires must 
now be spread out, as shown in Figure 5. Bend down each end 
one-half of an inch. At 4 inches from the tied center bend 
each wire downward at right angles to make the side crown. 
This should be 3^ inches long. Then bend the wires outward 
at right angles to form the brim. Take a wire 26 inches long 
and overlap it 2 inches and secure each end with tie wire. Slip 
this over the crown and secure to each brace wire at the head- 
size. Let the brace wires be equally distant from each other. 
(Figure 4). The overlapping wires denote the back of the 
frame. Make a second circle the same size as this first one and 
place it about the crown top, putting the overlap at the back. 
Cut a piece of wire 53 inches long, overlap the ends 2 inches, 
and fasten with tie wire. This is the edge wire. Place the 
circle within the downward turned ends of the brace wires, and 
press the brace wires firmly about the edge wire with the pliers. 
Let all overlaps be at the back. This gives the main structure 
of the frame, but it needs three more wire circles to complete 
it, one between the edge wire and the headsize, another on the 
side crown between the headsize and the crown top, and the 

n 



A COMPLETE COURSE IN MILLINERY 

last between the crown top and the center of the crown. These 
three wires are secured with tie wire wherever they cross a 
brace wire. This completes a one-piece frame (Figure 6), 





Figure 5 — Brace wires tied with tie 
wire at center and spread apart. 



Figure 6 — Wire placed midway between 
wire and headsize. 



which can be varied as to size or shape of brim or crown, as 
fancy may dictate. 

A curved crown top and sloping side crown may be fash- 
ioned by making the first of the brace wires into the desired 
shape and forming the three others by the first. 

In a like manner the brim may be made narrow or wide, 
drooping or turned up or given any fancy shape. 

By practice one soon acquires the faculty of shaping a one- 
piece wire frame to meet any demand of fashion. 




12 



A COMPLETE COURSE IN MILLINERY 

LESSON II 

To Make a Two-Piece Wire Frame 

The standard shape for a two-piece wire frame- is the 
sailor, which can be modified and changed to almost any other 
form. We will first make a round, flat-topped crown with 
straight sides. Cut four pieces of wire each 16^ inches long. 
Put them side by side in a bundle, tie them in the centre with 
tie wire, then loosen up so they may be spread out as shown in 
Figure 5, in Lesson No. 1 (see page 12). Turn all the ends 
downward at right angles for a half inch; 41^^ inches from the 
center, turn down the wires at right angles to form the s'ide 
crown, which will be 3^ inches high. Take 27^ inches of wire, 
overlap it 2 inches, making a circle. Secure the ends with tie 
wire. Lay this circle over the turned-down ends of the brace 
wire, press the ends about the circle with the pliers, keeping the 
wires equally spaced. Then make a similar circle to place 
about the side crown where the top begins and let all overlaps 
be in the back. Put one more stay wire between the headsize, 
and the crown top and the center of the crown. Secure all 




Figure i — The circular brim. Figure 2 — The elongated brim. 

13 



A COMPLETE COURSE IN MILLINERY 

these with tie wires, allowing 2 inches overlap in each instance. 
This completes the crown. Cut a piece of wire 53 inches long 
and another 26^ inches long, overlap each 2 inches and fasten 
with tie wire/ Make complete circles of each. Place the 
smaller one, which is the headsize, within the larger one, which 
is the edge wire. Have them equally distant from each other 
at all points. Measure the distance from the headsize to the 
edge wire and cut eight wires that length, plus 1 inch. This 
allows ^ inch at either end of these brace wires to turn over 
the headsize wire first and the edge wire. Put them all on the 
headsize wire first and then secure them to the edge wire, 
pressing them down firmly with the pliers. It is easier to space 
these wires by fastening first the wire in the back, which will 
come in the middle of the overlap of the headsize ; then the one 
in front and next the two side ones. The four intervening 
wires are then easily placed. One more stay wire is needed 
between the headsize and the brim edge. This is put on the 
upper side of the brim and secured with tie wire. All overlays 
come in the back. (See Figures 1 and 2, page 13.) 

Wiring the Brim 

if the braid to be used is heavy or for any reason extra 
stability is desired, double wire the brim edge. This is done by 
cutting a wire the same length as the brim edge, placing it 
underneath the edge and wrapping the two wires together with 
thread. Take your needle, put a double thread in it, and knot 
the ends. Slip this knot over the two wires and pass your 
needle under the wires and between the threads just above the 
knot. Cinch it up and this gives a good anchorage for the 
start. Put the needle around and around the two wires, dis- 
posing the thread at even intervals. This makes a firm edge, 
and one that will hold any shape in which one desires to bend 
it. Remember in constructing a frame that the stay wires are 

14 



A COMPLETE COURSE IN MILLINERY 

always outside of the brace wires except on the edges, as the 
brace edge, or the headsize. This completes the two-piece frame 

How the Brim May Be Varied 

To vary this shape take the brim first. Make the headsize 
as before directed, fasten on the eight brace wires and bend 
them in any shape desired; next put them on the edge wire, 
fastening it to each of the eight wires in turn, all the while 
carefully preserving the desired shape. Close the edge wire 
last and then brace with one or two wires between the edge 
wife and the headsize. If one side is to turn up it may be nec- 
essary to cut some of the brace wires longer than others. If a 
drooping brim is aflfected the edge wire is simply contracted. 
Practice will soon make it easy to develop any shape the mind 
may suggest. 

Varying the Crown 

The crown is varied by taking a piece of wire and making 
the exact outline desired. Then cut four of these wires and 
allow ^ inch on each end to turn over the headsize wire. It 
may be a round crown or only rounding at the crown top, but 
there is no limit to the shapes it may assume. In an oblong 
crown the brace vires are shorter on the sides than from the 
front to the back. The headsize of any frame does not fit 
well when it is perfectly round. If the brim in Figure 1 is 
pulled from front to back, it will assume the shape shown in 
Figure 2, and can be made to fit any shaped head and hot 
change the fiat brim. The headsize of the brim is necessarily 
always a little smaller than the headsize of the cr6wn, in order 
that the crown may set on the brim. An allowance should 
always be made in fitting the brim headsize for the braid or 
fabric of which it is made must turn up into the headsize and 
moreover there will be two thicknesses of the hat lining about 

15 



A COMPLETE COURSE IN MILLINERY 

the headsize. For that reason the headsize should be larger 
than the required size when finished. An average way to de- 
termine this is to insert two fingers under the wire, when plac- 
ing it about the head to get the headsize. This v ill allow the 
right enlargement. When the brim headsize is oval, the head- 
size of the crown should correspond and ain ' ng err i 
the consequence as shown in Figure 3. 




Figure 3 — The round en 

Frames which are to be cove 
which are not transparent can be m 
But if they are of open work or mi 
parent material, covered tie wire 
instruction on the wire frame. 




erials 

. wire. 

trans- 

mpletes 




16 



A COMPLETE COURSE IN MILLINERY 



LESSON III 
., The Stitches Used in Millinery 
Now, as our wire frame is completed, we will learn some 
oh4i& stitc'-;' S'Me. must use, in covering the frame, and in sub- 



^tq ot le' 

ne 
Fig. 5 
can 
thrc 



never 
*r 



millinery. 

mplest is the running stitches, shown in 

in shirrings or gatherings. The stitches 

^ needle, until it is full, before it is drawn 

the fabric is light and thin. There is 



-^- 



^lGUf?E I 



unning Stitch 

vo thicknesses of cloth used in gath- 
ihows the back stitch, which is used in sewing 




Fl&UfTE 1 



Drop Stitch 
. 17 



A COMPLETE COURSE IN MILLINERY 

two thicknesses of fabric together in a seam. In sewing to- 
gether strips of velvet or cloth, or anything that requires a 
stout seam, the back stitch is most efficient. The first stitch 
is taken the same as the running stitch; it is pulled clear 
through, and the next stitch, thrust in, at the middle of the 
fabric, taken up by the first stitch, and completed the same dis- 
tance in front of the termination of the first stitch, at the be- 
ginning of the second stitch is behind it. This repeated, n **ig 
each stitch back of the last one, gives us the process oi tick 
stitching. 




Overcast Stitch 

Figure 3 is the overcast stitch, and is used to join selvage 
edges, or to overcast the edge of brims or crown base. The 
stitch is made by throwing or casting the thread over an edge, 
and drawing the needle through, always in the same direction. 
In gathering laces and very light materials the overcast stitch 
is often used. 

Figure 4 shows the feather stitch. It is used to hold down 
a hem, or for ornamentation. It is really made by sewing back- 
ward, and runs toward the right, while all others run toward 

IS 



A COMPLETE COURSE IN MILLINERY 




Feather Stitch 

the left. At the extreme left of your hem, or row of orna- 
mental work take one running stitch toward the left and draw it 
clear through. Move toward the right at an angle of 45 degrees, 
and take another running stitch toward the left. The third 
stitch is made at the same angle toward the right, but we swing 
back on a straight line from the first stitch, and so it goes on, 
swinging from side to side, and progressing to the right all the 
time. 

The feather stitch is used to sew ribbon wire to ribbons, 
and the edges of flat seams are often secured by it. In fancy 
work it is one of the most ornamental stitches. 




Buttonhole Stitch 

The buttonhole stitch, shown in Figure 5, is used to finish 
edges, secure wires, or as a finishing stitch to fasten the end of 

19 



A COMPLETE COURSE IN MILLINERY 

thread. It is employed in applique work. For buttonholes the 
stitches are placed close together, making a firm edge. 

The slip stitch is one of the most important and the stitch 
most frequently used in millinery work. Its main object is to 
lay a flat hem without turning under the last edge, thus making 
only two thicknesses of the goods, instead of three. Take up 
the least possible threads, with the needle on the back of the 
goods, then slip the needle under the raw edge that is turned 
over for the hem, and let it be quite a distance from this edge, 
where the needle comes through, so it will not pull out. Then 
again, take a second small stitch and thrust through upper flap 
again, as shown in Figure 6. If this is properly done, it will 
not show the stitches on the right side at all in velvet and very 
little in other fabrics. 




Slip Stitch 

The blind stitch. Figure 7, is used where we want no stitch 
to show at all on either side. The sample shows two edges 
brought together with this stitch, so all the thread will disap- 
pear from view when it is drawn up tight. Insert the needle 
in the tube-like edge of the fold, take the length of a good sized 
stitch and bring the needle out just under the edge of the fold. 
Exactly opposite, insert it in the other fold, on its edge, take 
the same length stitch and bring across to the needle in the 
same manner as the first stitch. Take the needle across toi the 

20 



A COMPLETE COURSE IN MILLINERY 

fold opposite in a straight line, and insert again. Repeat this 
process and draw the edges together as you go. If the thread 
is not taken across from one fold to the other in a straight line, 
but is allowed to slant, it cannot be pulled tight enough to causa 
the thread to disappear. Remember this point, for it is the fre- 
quent mistake of blind-stitching. This stitch can be used for 
a hem by taking up the smallest portion of the fabric just even 
with the turned under edge of the hem, draw the needle 
through and exactly opposite on the hem itself insert the needle 
on the edge and let it slide along in the tube-like roll of the 
goods, the length of a good-sized stitch and bring out on the 





Blind Stitch 



Stab Stitch 



edge of the hem, and opposite it on the fabric take another tiny 
stitch, cinch it up and all the thread will disappear. The blind 
stitch is used not only for hems but for putting in facings for 
brims, making rolled edges and drawing together the turned in 
edges of velvet hat brims. In the latter case the stitches can be 
made of the same length as the edges are brought together. 

The stab stitch. Figure 8, is only used in sewing a heavy 
fabric, such as buckram, or when sewing on trimmings. The 
needle goes clear through, the thread following, and then back 
in the same manner, both strokes being required to make the 
one stitch. 

21 



A COMPLETE COURSE IN MILLINERY 

The saddlers' stitch, Figure 9, is used for making folds 
holding together turned-in edges to make a seam. The needle 
is passed through the edge as in the slip stitch, and then through 





Saddler's Stitch 



Lacing Stitch 



the opposite edge the same way. Go back and forth in this 
manner, sewing toward the left and each stitch advancing in 
that direction at an angle of 45 degrees. 

The lacing stitch, Figure 10, is used exactly as the sad- 
dlers' stitch, and is made like it, only a small running stitch is 
taken up on either edge, instead of a slip stitch. 

The tie stitch, Figure 11, is used for putting on trimming 




Tie Stitch. 

or securing loops of ribbon, or for any purpose which needs but 
the one stitch. A hat is seldom finished without use of a tie 
stitch. It may be used to secure a leaf, flower, fold or lining, 



22 



A COMPLETE COURSE IN MILLINERY 

and the crown is often fastened to the brim by tie stitches only. 
It is made by passing the needle through and back again as in 
the stab stitch, tying it twice and cutting off short. If great 
strength is desired, use double thread. 

The hidden stitch, Figure 12, is used when a hat crown is 
sewed on to the brim. Whether the tie stitch or the stilting 
stitch is employed it must come through the fabric of the brim, 
where a stitch is most undesirable. If the thread, usually dou- 
ble, is brought through on the under brim, if it be firmly 
pulled to the right, it will make a tiny opening in the fabric 
where the needle first came through, and while the thread is 
held very taut, insert the point of the needle in the tiny hole 
at the thread base, incline the needle at a different angle 
from which it came through in the first place, and when the 
thread is drawn back through the hole it will disappear en- 
tirely if no portion of the fabric has been allowed to come 
between the thread base and the needle point. If the threads 
of the goods are slightly disarranged they can easily be put in 
place by the needle point. 

The stilting stitch (Figure 13) is used in sewing brim 
edges together or in -sewing the braid on the upper side of a 




Hidden Stitch 



Stilting Stitch 

A concealed stitch very much used 
in millinery work 



23 



A COMPLETE COURSE IN MILLINERY 

hat brim, where the needle necessarily passes through the 
braid on the lower side of the brim, and the stitching must 
be concealed on both sides. The stitch is made by inclining 
the needle at an angle of 5 degrees and sewing back and 
forth toward the left at this angle, as shown in the sample. 
The least possible thread is visible. The needle is supposed 
to take the posture of a boy walking on stilts, hence its name. 
The sliding stitch (Figure 14) is simply a loop of the 
thread, slid along by the needle and drawn into a knot. It 
is used where it is impossible to take a stitch and the only 
way to fasten the thread is to slide this loop along and se- 
cure with its knot. It is particularly useful where the hat 
lining is drawn together. 




/^ 



ymmmrmmm 



FIGURE 15 



Sliding Stitch 



Blanket Stitch 



The blanket stitch (Figure 15) is exactly like the but- 
tonhole stitch, except that the thread is thrown over the 
point of the needle from left to right, while in the buttonhole 
stitch the thread is thrown from right to left. The blanket 
stitch makes a softer edge than the buttonhole stitch and is 
more desirable in most millinery work. 



24 



A COMPLETE COURSE IN MILLINERY 



LESSON IV 
To Cover a Wire Frame 
We will now take our two-piece wire frame and cover 
it with mull or crinoline for a foundation upon which to sew 
the braid. If the braid to be used covers well, crinoline is 
the better of the two, as it is a little stififer than* mull, but if 
the interlining will show through, mull will look better than 
the crinoline. Some of the fancy straws and hair braids 
have such wide interstices that it is often best to cover the 
frame with a cheap mercerized lining fabric that looks like 
silk, and has as much body to it. This generally matches 
the straw in color, and is usually used on the upper side of 
the brim and the outside of the crown. Transparent hats of 
chiffon, lace and maline are made differently and will be 
considered later. Whatever interlining is chosen, place the 
front of the brim in a bias corner of the goods and let it lie 
smoothly over the upper side of the brim. Secure by turn- 
ing the goods over the brim edge and pinning it there. First 




No. I Crown frame partly covered 

put in a pin, on the straight of the goods at right angles, and 
its opposite. This leaves the four bias places between, where 
all wrinkles can be taken out. Put in the pins about an inch 

25 



A COMPLETE COURSE IN MILLINERY 

apart, being careful not to pull the goods, so as to cramp the 
brim or change its shape. 

Cut off the surplus goods, leaving ^ inch overlap around 
the brim edge. Oevrcast it as shown in the picture. Then 
cut the headsize, leaving about ^ of an inch to sash, and turn 
over the headsize wire. Overcast the same as the brim edge. 
This is clearly shown in the diagram. Next the crown must 
be covered. If the top is flat, cover the same as the brim; 
that is, place the front on a bias of the goods, and pin it first 
on the straight of the goods, and then on its opposite, next 
on the straight, at right angles, and then on its opposite, and 
then secure the four bias pieces between. Use pins one inch 




No. 2 Crinoline — covered wire brim 

apart and cut away the goods, leaving ^ of an inch over the 
outer wire of the crown top. Overcast this as shown in 
illustration. The reason for pinning the interlining on the 
straight of the goods first is that it cannot pull out of shape, 

26 



A COMPLETE COURSE IN MILLINERY 

across it, or in its length; but on the bias it can always be 
pulled into another form. If the top of the crown is round- 
ing, the fulness can sometimes be taken up by pulling and 
smoothing down the bias places in the goods, or the covering 
may" be slit, as shown in the picture, lapped over and stitched 
up until the parts will not hold the thread, when you must 
change to a lock stitch, across the seam, as shown in the 
sample, near the crown top. If this fulness is laid over in 
plaits it will be found very hard to manage and get smooth, 
as it nears the center of the crown. Next cut a piece of the 
goods long enough to go around the side crown and to 
overlap one inch. Let it be also one inch wider than the 
side crown is high. Turn in half inch on the edge, which 
goes next to the crown top and pin it around the side crown, 
just even with the outer wire of the crown top. Lap it over 
the extra inch, allowed in measuring around the side crown 
and sew it together^ with long stab stitches. Sew the side 
crown on next to the crown top, with long stitches on the 
right side, as shown in diagram. At the headsize turn under 
the goods, pin it and overcast. The frame is now ready for 
the braid. 

We will next consider the covering of wire shapes that 
may be varied from the sailor. As mull is more pliant than 
crinoline, it is better for these irregular forms. If the crown 
is round or bell shaped, it is sometimes covered with one 
piece. This can be done when the braid will not show 
through. Place a straight piece of the mull at the front of 
the crown, turn it under at the headsize and pin. Then pin 
the goods, at right angles to the front. Now drape down the 
opposite side similarly; next the two straight places in all 
the fulness possible at the four bias places, between the 

27 



A COMPLETE COURSE IN MILLINERY 

four straight points that are pinned, and form each bias 
place into five plaits, all turning the same way. 

This takes up the fulness. Another way is to slash the 
bias places and lay one fold of the goods over the other, as 
in the sailor crown top. This is more apt to ravel. A third 
method is to cut out small gores and then overlap. In any 
case, the crown is overcast at the headsize after it is pinned 
and the fulness disposed of. Suppose the brim is turned up 
all around, as in some turban shapes. Then the mull is 
placed on the under side, next to the face. The bias is put 
to the front, and pinned in the four straight places of the 
goods. What fulness can be taken up by stretching is dis- 
posed of, and if more remains it is plaited over, slashed and 
overlaid, or a gore taken out. Then overcast around the 
brim edge, and manage the headsize, as in the sailor. In 
fluted brims, or those that flare much, it is often necessary to 
insert a gusset wherever needed. Many milliners prefer to 
cut out plaques for covering the frames before beginning the 
process. In that case measurements must be taken from front 
to back and from side to side and a plaque cut out large enough 
to cover and allow an inch extra. The only difficulty in this 
method is that the plaque will stretch so much on the bias 
that its form is changed more or less and the goods may 
come short at one point and have to be cut away at others. 
It is not so economical as when pinned from the whole piece 
of goods. These varied forms can be covered with crinoline, 
only it takes a little more care and management, but with 
practice any frame can be smoothly covered. 




28 



A COMPLETE COURSE IN MILLINERY 



LESSON V 
Applying the Covering to Hat Foundation 

We now have the wire frame, made and covered with 
crinoHne or mull, and will proceed to sew on the braid. 
Sometimes it is fashionable to bind the brim edge with the 
braid. If the braid is straw, turn in 3^ inch on the end. If 
it is lace, or hair braid, tie the end and turn it in. Begin on 
the brim edge, in the back, and let the braid extend equally, 
on both sides of the brim edge. Sew it around, near the 
edge of the braid, back and forth, with a stab stitch, about 
^ inch long, on either side. When the braid comes around 
to the place of beginning, turn it under on the end and bring 
the first and second ends together flat and sew them down. 
The first row of braid is sewed on the under side of the brim. 
Begin in the back, at the point where the binding began. 
Turn in the end of the braid if it is quite wide, and let the 
edge o fit project over the brim edge, stitching just within the 
brim edge wire, with the small stitch, on the under part of 
the brim, and the long one, on its top. Stitches y^ inch apart 
will hold it nicely. When the complete circle of the brim is 
made, end it by turning in the braid for ^ inch and sewing 
the two ends down flat. Then stitch the edge of the braid, 
nearest the headsize, with long stitches on the under side of 
the brim, and short ones on the upper. Whenever silks, vel- 
vets or braids are to be held in place, and the stitching will 
not eventually show, the long stitch is put on the right side, 
because it does more toward holding the fabric in place. For 
instance, this row of braid is sewed with the small stitch on its 
outer edge, because it will show, and the long stitch on its inner 
edge, because it wants to be held firmly and will be covered 
with the next row of braid. 

29 



A COMPLETE COURSE IN MILLINERY 

The second row of braid starts in the back, is turned un- 
der, and stitched down, with the edge nearest the brim edge, 
overlapping the first row of braid sufficiently to hide the 
stitches on its inner edge. 

Sew it on with the small stitch, on the right side, and the 
long stitch on the wrong or upper brim side, making the sew- 
ing come, as nearly as possible directly above the stitching, 
on the inner edge of the first row ; when around, finish it the 
same as the first row. Continue this process until the under- 
brim is completed to the headsize. If the last row is too 
wide, let it extend up into the headsize, for the headsize wire 
must always be covered with the braid, and it must extend up 
into the crown far enough to be siitched to the braid that 
extends from the upper side of the brim and held in an 
upright position toward the crown top. This makes a founda- 
tion to sew the crown lining to. If one side of the brim 
is wider than the other or the brim is of irregular shape, the 
last row of braid will have a bare space near the headsize. 
Fill this in, with short lengths of braid, overlapped like the 
outer circles, and let the ends extend up into the headsize. 

The upper side of the brim is sewed on exactly the same 
as the lower one, only the stilting stitch is used, so it will 
not show on either side. As either the upper or lower side 
of the brim must be sewed through, in order to get the braid 
on both sides, it is best to sew through the under side, so 
there will be the least sewing on the upper side. If the braid 
is one inch or under in width it can be laid on flat at the be- 
ginning instead of turning under the end, and when the 
circle is sewed around it can be gradually sloped toward 
the headsize until it comes to the regular overlapping width 
desired, and from that point it will go around row after row 
as shown in the picture. When the brim edge is not bound 

30 



A COMPLETE COURSE IN MILLINERY 

with the braid it is finished by sewing together the project- 
ing edges of the braid from above and underneath. The 
stilting stitch is used in small stitches. This makes a neat 
finish. If a braid is stiff and brittle, steam will soften it, or 
wrapping it about with a wet bath towel, wrung out as dry 
as possible. 

If the braid is colored in light hues and may run with 
moisture, put a dry cloth about the braid first, then wrap the 
damp towel around it, and let it lie a while before using. In 
high altitudes it is sometimes necessary to dip the braid in 
water. 

There is no rule laid down by a milliner but what can 
be modified and changed, so as to give great variety. Take 




Crown foundation,^ ] 
covered 

When the crown and the brim 
have been finished separately, 
they are sewed together in place 



Brim section of frame, after 
braid is applied 

the brim edge as an example. It may be finished by bringing 
together the braid from above and below, or it can be bound 
with the braid of the hat, or with silk or velvet, which might 



31 



A COMPLETE COURSE IN MILLINERY 

be in the color of the braid, or the hue of the trimming. In 
each case the looks and general expression would be entirely 
different. 

Covering the Crown 

We will now consider the crown. To cover a bell shaped 
crown, it is easiest to begin in the back at the head- 
size. Let the finished edge of the braid be down and slope 
it gradually from underneath the headsize wire until the 
lower edge of the braid lays smoothly along the headsize 
wire. 

Then go round and round toward the crown top, sew- 
ing the lower edge of the braid first with the small stitch on 
the right side and the long one on the wrong side. The upper 
edge of the braid is sewed on with the long stitch on the right 
side. When the crown tip is reached, the braid is brought 
around in a complete circle, and applied so it makes a round 
rosette for a finish, as shown in the illustration. Stitch this 
finishing rosette down very smoothly. In hair braid and 
some of the soft straws this finishing circle can be made by 
drawing up the braid on its gathering string, but if the braid 
is stiff it has to be formed by laying it in plaits, all coming to a 
common center. 

If the crown is straight on the sides and flat or round: 
ing on top, sew the top crown first, starting in the back, at 
the crown top edge, and letting the braid project about ^ 
inch over this crown top edge. When once around, slope 
the braid gradually into the second circle, as in brim sewing, 
and finish with the rosette at the crown top. This rosette 
is never separate, but is a continuation of the braid until it 
curls around on itself. Next begin on the side crown at the 
back next to the crown top edge. Let the finished edge of 
the braid be up and project Va. of an inch above the crown 

32 



A COMPLETE COURSE IN MILLINERY 

top edge. There it will meet the finished edge from the top 
of the crown, and these edges are in contact, extending out- 
ward in a little ridge, and are stitched together with small 
stilting stitches. When the first circle about the side crown 
is completed, gradually slope the braid down until its fin- 
ished edge covers the stitching on the lower edge of the first 
row. Proceed row on row in the same manner until the 
braid is run under at the headsize. 

The crown is now sewed on the brim, with long stilting 
stitches that do not show on either side, and the hat is com- 
plete. Some use a tie stitch in putting on a crown, but un- 
ess there is a fold or trimming to go about the crown base 
these stitches are not desirable. It takes about 8 stitches of 
this kind to secure the crown to the brim. 

In sewing any kind of braid on a curve the finished or 
outer edge is slightly stretched, and the inner or plain edge is 
drawn up on the gathering thread so it will lie smooth and 
natural. All the braid must be placed and pinned before 
sewing. Next lesson will be on fancy ways of sewing 
braids. 




ZZ 



A COMPLETE COURSE h\ MILLLXERY 



LESSON VI 

Sewing Braid in Fancy Forms 

After learning to sew the braid on the frame smoothly 
it is well to have some variations of its use, as there is a 
vast field open to imaginative genius in inventing beautiful 
and decorative forms for the use of braid. For this purpose 
a pliable braid is the best, although a stiff braid, by the aid of 




Various ways of using*straw braid ornamentally 

steam, or moisture, from being wrapped in a damp cloth, can 
be made to assume various forms ; also hair braid is par- 
ticularly fine, for round swirls, being drawn up on the gather- 
ing string, on the plain edge. But for general purposes a 
medium braid is preferable, neither so stiff as some straws nor 

34 



A COMPLETE COURSE IN MILLINERY 

so lacy as hair braid. The braid we choose must have a 
gathering string, or if it has not one must be run in its plain 
edge, before making the swirls. 

Straw Leaves 

The first form to consider is that of straw leaves, as 
shown in the picture. Take the end of the braid for the stem 
of the leaf. Double over a plait, toward the stem, letting it 
bag out a little; never pull it straight. Leave a plain piece 
of the braid, about its own width; then make another plait, 
diagonally across the braid, leave another space, the width 
of the braid, and form another plait, whose inner base shall 
come exactly to the inner base of the plait just before it. 
This last plait will stand straight with the midrib of the 
leaf. Leave another space, the width of the braid, and form 
another plait diagonally, and whose inner base will come to 
the other two. The depth of these plaits must be determined 
by the width of the braid, and will be so formed that the top 
of the leaf will lie flat, and the inner edge of the braid going 
down to the stem again, will overlap the inner edge of the 
braid, as it went up to form the top of the leaf. This stitched 
together forms the midrib of the leaf, a last plait is taken at 
the base, like the first one, only opposite, each of them draw- 
ing in toward the stem; stitch this last plait and wrap the 
thread around the raw ends several times and the leaf is fin- 
ished. 

These leaves may be used around the crown at the head- 
size, sewed as shown in the illustration, or stood upright, 
one after another, and their base covered with a folded or 
plaited braid. They can be sewed in a circle on the top of a 
crown or used to ornament the brim. Fancy can suggest mul- 
titudinous forms for their use. When sewing them on be 

35 



A COMPLETE COURSE IN MILLINERY 

careful not to lose the expression by sewing them down too 
flat ; yet they must be secure. 

If a brim is smaller than desired, a plaited edge adds to 
its size and embellishes its looks. In the picture are two 
designs — the side plait and the box plait. They are stitched 
under the braid at the upper brim edge, and then the braid 
from the under side can be fastened with a stilting stitch, 
sewing through and through. These plaits can be used to 
decorate the crown edge, or by putting them on each side of a 
braid, a band for the base of the crown is formed for a trim- 
ming effect. Cabochons can be made by sewing these plaits 
around and around a disk, using the tight curled cabochon for 
a center. Many pretty effects can be studied out along the line 
of cabochons. The one shown in the picture is made by 
doubling the braid and curling it around on itself, sewing it 
through and through on the under side and the end, finally 
taken gradually down underneath, then by pushing the center 
up from the under side it gives it a slightly curved appear- 
ance. Cabochons are used at the base or fastening end of 
feathers, or loops of ribbon, or for purely decorative pur- 
poses of their own. They are sometimes made small and used 
in rows, like buttons, giving a tailored effect. 

Another Pleasing Use for Braid 

Braid is sometimes sewed, with the edges raised up, and 
stitched together in a ridge instead of overlapping like shin- 
gles on a roof. This is shown in the picture and is particularly 
nice to give the lights and shadows of a braid. It is best in 
sewing it on a hat to baste down each row as you go to the 
place desired. It will not do to try to sew the edges to- 
gether, and sew through the hat to place the braid at the same 
time. It destroys the effect. The basting should be done 
just below the ridge and a very little way from it. This par- 

36 



A COMPLETE COURSE IN MILLINERY 

ticular sev/ing can be made in one piece and stretched over a 
crown top, where it shows its full beauty. 

Braid can be sewed in circular form by lapping it around 
a pencil lengthwise and stitching together the edges with the 
saddler's stitch. If the pencil proves too small for the width 
of the braid, take a round stick of the proper diameter and 
just so the edges of the braid will come together for stitching. 
A wire can be run into this circular braid and it can then be 
bent into the shape of quills and it makes a fancy trim, fas- 
tened with a corresponding cabochon. It can be used in rows 
around the crown base for a band, or if a cord is drawn 
through it it can be curved into all manner of shapes for all 
manner of decorations. 

The swirls, made by pulling up the drawstring tight and 




Various ways of using straw braid ornamentally 

2>7 



A COMPLETE COURSE IN MILLINERY 

having the outer edge so it will lie smooth, are made in one 
continuous piece by bringing the braid over on itself and 
going on to the formation of the next circle, after the first is 
completed. See the sample in the illustration. Hair braid 
takes especially well to this treatment. It makes beautiful 
side crowns and can be used on the brim also. 

There is no end to the different forms that braid can be 
manipulated into by simply keeping your eyes open to the 
beauties of nature and the devices of men, found all about us 
in the every day world. 




38 



A COMPLETE COURSE IN MILLINERY 

LESSON VII 

Lining the Crown 

After making the wire frame, covering it with crinoline 
or mull, and sewing on the braid, in plain rows, or fancy 
shapes, we come to a very mooted question in millinery. It 
is this : Shall the crown be lined before the trimming is put 
on or not? The best of milliners can be found contending 
warmly on either side of this subject. One says: Line the 
crown before trimming the hat, because it is apt to crush the 
bows of ribbon, or muss up the flowers if it is done afterward. 
The other side says: If the lining is put in first it is f re- 




Figure No. I 

Lining Sewed in 

with 
Overcast Stitch 



quently stitched through, in spite of all care, and is a con- 
stant aggravation. Whichever way you may choose you will 
probably wish you had tried the other. As a sort of com- 
promise, some milliners put in the lining first, and then fold 
it into as tight a roll as possible, beginning at the raw upper 
edge, and pinning it, to confine the roll while trimming. Like 
most compromises, it has the virtue of neither side. 

39 



A COMPLETE COURSE IN MILLINERY 

The present lesson will be on putting in the lining, and 
you can trim before or after it is placed, as you please. Per- 
sonally, I prefer putting in the lining after trimming. 

Materials for Hat Linings 

The lining is made of different fabrics, according to the 
style and material of the hat. Light, soft silk makes the best 
lining, while many of the mercerized cotton fabrics made espe- 
cially for this purpose are good for commoner use. For trans- 
parent hats, as chiffon, lace, maline or net, we line either 
with the same material as the hat, or something equally thin 
and delicate. 

The lining may be cut lengthwise, in which case it will 
not ravel so easily, or crosswise, or bias. Measure the headsize 
and allow two extra inches for the length of the lining, as it will 
take up a little of the fulness by sewing, be one ever so 
careful. Its width is from the headsize to the inside center 
of the crown. Ast he lower edge of the lining is sewed around 
the headsize and the upper edge is turned in to hold a draw 
ribbon, considerable material is taken from the width of the 
lining ; so much so that a spot at the inner crown center would 
be left bare. So cut a piece of the lining fabric 4 inches 
square, place its middle directly over the inner center of the 
crown, sew it around its edge, taking long stitches on the 
inside of the crown, and very short ones on the outside. The 
piece of goods is called the crown tip, and in stores bears the 
name of the house or firm. 

How to Adjust the Lining 

Take the side lining in the long piece and turn in one edge 

half inch for a hem. Run a thread along it, leaving space 

for a tiny ribbon by which to draw it up. Fold one end of the 

lining in for half inch. Let it be folded over on the same 

40 



A COMPLETE COURSE IN MILLINERY 

side of the material as the hem was. Put this end fold 
exactly in the back of the crown at the headsize, with the raw 
edge of the lining length, extending into the crown. Sew from 
right to left, continuing around to the place of beginning. 
Hold the lining smooth, but do not draw it too tight. Two dif- 
ferent stitches are used for this purpose. The first is shown 
in illustration No. 1, the overcast stitch. Remember this stitch- 
ing must be done on the wrong side of the goods, and the top 
hem for the ribbon must be turned down on this side, too. 
Then when the lining is turned up into the crown, the right 




Figure No. 2 
Sewing in Lining 

with 
Buttonhole Stitch 



side is exposed. The second stitch used in putting in a lining 
(illustration No. 2) is the buttonhole stitch. The overcast 
stitch is liable to show when the lining is turned up inside of 
the crown, as the material sometimes slips on the thread, but 
the buttonhole stitch, when drawn firmly outward, forms a 
continuous thread, to turn the lining over and is preferable for 
that reason. 

To finish the lining tuck the last end under the folded 
end, sew firmly to place and baste the two ends together by 

41 



A COMPLETE COURSE IN MILLINERY 

taking a long stitch on the under side and the smallest possible 
one on the right side, and as near the edge of the turned under 
will be inserted. Run the ribbon through this hem with a 
metal runner, beginning at the lapped over end, and when it 
end as will hold. Continue this to the hem, where the ribbon 
comes around to the same point again thrust it through the 
goods on the right side, so it can be tied in a pretty bow ; 
Fasten it to the crown top, with a tie stitch under the bow, 
and another tie stitch directly opposite it in the circle which 
the side lining will form, exposing the crown tip. 

In cases where the smallest stitch will show on the top 
of the crown, make the lining wide enough to gather in a tight 
knob at the top, over which place a small flat bow of narrow 
ribbon. The top of the lining is folded in for half inch and 
the stitching done along the edge at the place of folding. Take 
a long stitch on the right side, and a small one on the wrong 
side, and when it is drawn tight it throws the fulness inside 
and leaves no aperture at all. 

When the lining is sewed about the headsize before the 
trimming is placed, the upper edge of the lining must be left 
open until the trimming is done and then closed the last thing. 




42 



A COMPLETE COURSE IN MILLINERY 

LESSON VIII 
Making Hat Bandeaux 

In order that a hat may stay on the head at a cartain 
angle, or to reduce the headsize or increase it, a bandeau 
must be used. The word bandeau means a band or fillet 
around a cap. So it defined the headsize of the cap, and 
consequently can be applied to the headsize of a hat, as a 
hat is merely a cap with a brim to it. 

A bandeau is made on a buckram foundation. Never 
use rice net or any of the more pliable fabrics, as they are 
unsatisfactory. The buckram is wired all around as shown in 
Figure 1. The next step is to sew the wire beginning in the 
middle of the top, with an overcast stitch, keeping the wire 
even with the buckram edge, and allowing the ends to overlap 
about an inch, bringing the finishing end under the end of 
beginning. Use the usual No. 5 millinery needle and strong 
millinery thread. These foundations are made of various 
shapes to produce different effects. It may be a straight strip, 
all around the headsize, merely lifting the hat up from the 
head. Sometimes a bandeau is cut perfectly round, as shown 
in Figure 5, and is then called a halo. This is used to reduce 
the headsize. The halo has to be used when the crowns are 
very large, and the headsize so proportioned that it would 
let the head clear into the crown top of the hat. 

A halo is sometimes basted in, against the side crown, 
to keep the head from coming too far into the hat. The sides 
of the halo may be slanting, instead of lying flat, in which case 
it fits the head better, and keeps the hat more firmly in place. 
The sloping efifect can be accomplished by slitting the buckram 
from its outer circle almost through to the inner one, and 

43 



A COMPLETE COURSE IN MILLINERY 




Figure I. Bandeau stiffened with wire 




Figure 2. How edges of velvet are drawn with long stitches 




Figure 3. Bandeau covered with bias strip 

44 



A COMPLETE COURSE IN MILLINERY 

overlapping the outer edges to get the required slant. Or a 
paper pattern can be cut of a halo, and treated in the same 
manner, and then cut across it, so it will lay out flat. Use this 
for a pattern for the buckram, thus making it in one continu- 
ous piece. 

If a bandeau is to tilt the hat at an angle, it is put on 
either side, or at the front or back*. Generally, if any direc- 
tion is required, it is a tilt from the left side, and a trimming 
of flowers or ribbon covers the bandeau. The comfort of a 
hat depends upon the fit of the headsize. If it presses on the 
forehead, or any angle sticks into the head, it is almost un- 
bearable. To obviate this, it is better to fit all bandeaux. Put 
the hat on the head, find its proper position, whether it needs 
to be tilted, brought up higher, or pulled down. Then take a 
finger and slip it about the headsize where the bandeau will be 
placed, and by gauging on the finger the distance from the 
headsize of the hat to the line where the lower edge of the 
bandeau will come, you can estimate the shape of the ban- 
deau itself, and cut a stiff paper pattern as nearly the re- 
quired form as possible. Leave an extra inch at the top of 
the pattern, and pin this extra inch within the headsize. 
This paper can be fitted by insets or overlaps so it will press 
evenly everywhere, and then the buckram can be cut by 
this pattern. 

By curving the upper edge of the side bandeau so it is 
concave it can be made to flare out, more or less, as desired. 
Sew the wire on the rough side of the buckram, and let this 
side be away from the head, so the wires cannot be felt. To 
cover a bandeau, baste velvet on the rough side of the buck- 
ram and let it extend one-third of an inch beyond the edges as 
is demonstrated in the illustration (Figure 2). Draw the 
edges together by long stitches, sewed back and forth, as in 
Figure 2. Next remove the bastings. Always cover the 
outside, which is the rough sMe, with the velvet first, then 

45 



A COMPLETE COURSE IN MILLINERY 

baste a bias piece across the inside. Cut it off around the 
edge, letting the end project about one-third of an inch. Turn 
in the edges, and bhndstitch it on. This forms the hning of the 
bandeau. In covering such a bandeau as is shown in Figure 
2 it is often necessary to slash the goods to make it fit, and in 
some cases the goods will lay over in plaits, and when this 
occurs, it is best to cut out a gore to make it lay smooth. 

The more regular bandeau can be covered with a bias 
strip, twice as wide as the widest part of the buckram foun- 
dation, and allow half inch beside, to turn in the two edges, 
as shown in Figure 3. Fold the velvet about the buckram 
and beginning at one corner, fit it carefully, and cut away all 
unnecessary velvet except the quarter of an inch to turn in on 
either edge. Bring both edges together after they are turned 
in, and overcast them together, so that the seam will come on 
the outside, as it will be ridgy, like a rope, and should be next 
to the head. It is shown in Figure- 3. 

Sometimes the bandeau is cut from the buckram with a 
continuous piece, going up into the headsize, as Figure 4. This 




Figure 4. Bandeau with tab extension 

extension is not wired or covered, but runs up into the crown 
to stiffen it for the trimming. If the hat is of soft substance, 
as hair braid, chiffon or lace, such support is necessary, and 
should be shaped so that the trimming will cover it. 

46 



A COMPLETE COURSE IX MILLIXERY 

Figure 4 shows by dotted lines one of the many ways in 
which it may be cut off, and then basted to the crown. The 
bandeau part is covered with velvet or some fabric. , 

If a halo is flat it may be covered by placing the buck- 
ram foundation on a flat piece of velvet, basting it down and 
cutting the velvet around the outer edge, leaving quarter of 
an inch projection for a turn-in. Cut out the headsize, leaving 
quarter of an inch beyond the edge of the buckram. The two 




Figure 5. The halo bandeau 

edges are held in place by stitching back and forth, as in 
Figure 2, and need not be lined. The halo is shown in Figure 
5. 

There is one other kind of bandeau which is used in the 
back of a hat, to extend down on either side of the knot of back 
hair. It is used to hold flowers or some decoration. 

Soft bandeaux are made from narrow strips of hat lin- 
ing, sewed around the headsize and finished at the top with a 
hem through which a ribbon is drawn. By loosening or 
tightening the ribbon, the head is let more or less into the 
crown. If it is a matter of reducing the headsize, however, 
the soft bandeau is not satisfactory, as it leaves the head 
so it will move all about, while at the same time it may be 
securely pinned to the hair. 

47 



A COMPLETE COURSE TN MILLINERY 



LESSON IX 

Making Buckram Frames 

The standard shape for a buckram frame is a Gains- 
borough, and one having mastered its construction can 
easily learn to vary it to other shapes. 



^f^gur?.A 



16 inches 

> 



SgnLure 






J6 inches 



8 inches 
Figured' 



The first thing is to learn to cut the pattern, as Figure 
I. Fold it across the middle as Figure 2. Fold it once 

48 



A COMPLETE COURSE IN MILLINERY 

more, making it a square again, as Figure 3. Now do the 
rest of the folding from the center at a. Fold diagonally 
across from a to b, as Figure 4. Then fold a — c to a — h, 
measure the line a — c, and mark the same length from a, 
along the line toward d, as Figure 5. Draw a line from 
d to c, that shall be at all points equally distant from a, 
which means it will be very slightly curved as Figure 6. 
Cut along this line from d to c and open it out, and you 
will have the round disk, Figure 7, which makes the pattern 
for the buckram brim of a Gainsborough hat. 

The headsize in pressed hats and bought frames is 
sometimes round, and as few human heads are of that 
form, we have many hats that press on the forehead, and 
leave gaps on the side, and never feel comfortable, nor stay 
on well. This is all unnecessary. Take a piece of stiflf 
paper, or better still, of cardboard, and cut out a headsize 
that perfectly fits the head. Make it a little larger than 



the perfect fit, to allow for a thickness of velvet, which must 
come into the headsize from this under side of the brim, 
and also for the lining. By placing two fingers within the 
headsize, the measure will be perfect when finished. Lay 
the headsize pattern on the brim disk, so that the center of 

49 



A COMPLETE COURSE IN MILLINERY 

the headsize will be exactly over the center of the brim 
disk. Mark around it and cut it out to the line. 

Now lay the pattern of the brim on a piece of milliner's 
buckram. Cut around the outer edge. Mark around the 
headsize and lift the pattern. Cut out the headsize, leaving 
an inch of the buckram all the way round within the head- 
size mark. This is to slit and turn up in the crown, as in 



Figure 7. The smooth side of the buckram is always the 
upper side of the brim and the outside of the crown. 

Fashion changes the outlines of the brim, making it 
longer from front to back and from side to side, but the 
round brim is the standard one. Likewise, the headsize is 
sometimes placed nearer the front and again it may be 
nearer the back, but the center is the conserv^ative place 
for it. 

Take brace wire, the kind frames are made of, and sew 
it around the edge of the brim, placing it on the upper side 

50 



A COMPLETE COURSE L\ MILLINERY 

of the buckram just so it will not show from the upper 
side. 

Overcast it, as Figure 8, using No. 5 millinery needles 
and No. 24 D millinery thread. Any needle and any thread 
woulJ do, but the milliner's thread, which is heavily waxed 
and made of great strength so each stitch will tell, is far 
prefeiable to any other thread, and the milliner's needle 
has the long reach that no other needle has. 



^'^ 



Figure 8 — The Gainsborough crown 

The wiring should begin in the back and when around, 
overlap the wire two inches and keep it flat by overcasting 
one stitch and the next stitch, placing between the wires. 
Never let one wire get on top of another, for it would make 
a bulge in the fabric, with which you cover the frame. 

If the brim is as large as the 16-inch Gainsborough, 
double wiring of the edge will be necessary. Put on the 
second wire within the first one, overcasting one stitch, over 
the brim edge, and the next stitch inserting between the 
wires. The ends have two inches overlay, and are stitched 
down flat as the first one is, and as close to it as possible. 

Next wire the headsize, around the marked line, on 
the right side of the buckram. 

Begin in the back and overlay the wire two Inches, 
stitching it down flat. One more brace wire is needed be- 

51 



A COMPLETE COURSE IN MILLINERY 

tween the headsize and the brim edge. It is put on with 
the usual overlap, and secured by a stitch from the under 
side of the buckram, which merely goes through on one 
side of the wire, and directly across and down on the other 
side, the long stitch being on the under side. This is done 
in order to leave as little thread on the right side as pos- 
sible. The brim is now finished. 

The regular Gainsborough crown is high and straight 
on the sides, and flat on top. Fashion greatly modifies it 
now, and the soft crowned variety seems to be liked the 
best. If it is desired to have it conform enough to go 
around the headsize, which is probably longer than it is 
wide, take a piece of straight buckram 2^ inches wide, and 




Figure 9— The Gainsborough Brim, wired 

long enough to go around the headsize, outside of the wire, 
allow quarter of an inch space between the wire and crown, 
for the velvet covering of the crown will be turned in there. 
Overlap the buckram an inch and stitch down smoothly. 

52 



A COMPLETE COURSE IN MILLINERY 



Wire both top and bottom overcasting, so the wire can 
not be seen from the right side. Allow the usual overlap 
of wire, which secure so it will lie perfectly flat. Take the 
headsize you cut in the pasteboard and lay it on a piece 
of paper and mark around it. Cut the paper thus marked, 
allowing one inch outside of the marked line. This will 
give a pattern for the crown top. Make it out of crinoline, 
and lay it in small plaits around the edge, about two inches 
apart, and all folded in the same direction. These plaits 
should be of the same depth and made so that they will take 
up enough of the fulness so that this crown top will just fit 
into the upper wire of the side crown. Stitch down the 
plaits smoothly and tack the crown top inside of the upper 
wire of the side crown (see Figure 9) and the frame is 
completed. 




DUCHESS OF 
DEVONSHIRE 

The World Famea Portrait 

by 

Thos. Gainsborough 

which is responsible for 

fixing the artist's name on 

this character of hat 



53 



A COMPLETE COURSE IN MILLINERY 



LESSON X 
Varying the Buckram Frame 

We will now consider the varying of the flat buckram 
frame, and show first what can be done with the round 
Gainsborough brim. 

Suppose we should wish a drooping shape. The brim 
in that case would be slashed from the brim edge to the 
headsize, leaving just enough cloth to hold it together at 
the headsize. Then overlap these slashed sections at the 




No. I. Slashing and overlapping the brim. 



No. 2. The drooping brim, ready to be turned 



brim edge, and all in the same direction, as shown in Fig. i. 
Stitch them around the brim edge, and the shape will be 
more or less drooping, according to the amount of overlap. 
It will be found that a very little overlap will make quite a 
drooping brim, and it is better to slash the brim in many 
places and overlap but slightly, rather than to cut in few 
places and make the overlap large. 

In doing the latter, the brim edge will be scalloped and 

54 



A COMPLETE COURSE /;Y MILLINERY 

irregular. Should the droop desired be very slight indeed, 
the brim can be slashed in only a few cuts, say four, but the 
overlap must be small, and if a greater droop is wanted, it 
should be obtained by more slashes rather than greater 
overlaps. 

If the drooping brim is made of an old straight one this 
method is necessarily used, after all the wires are removed, 
except the headsize wire. But if the drooping brim is to be 
cut from new buckram, make a pattern first, like the Gains- 
borough brim, and slash and overlap the pattern until the 
desired droop is attained, then cut one slash clear through the 
headsize line, and lay the pattern out flat, as in Figure 2, 
and lay it on the buckram, and cut. the brim in one continu- 
ous piece, allowing one inch extra on either edge, where 
the last slash was made, for an overlap, to join the brim 
together, at the back. 

As by overlapping, and so contracting the brim edge, 




No. 3. Making a portrait brim by expanding it No. 4. Transforming a hat into a turban brim 

we can make the drooping brims, so by putting in gores or 
gussets, and thus expanding the brim edge, we can make 
rolling or turned up shapes, as in Figure 3. This one inset 

55 



A COMPLETE COURSE IN MILLINERY 

will serve to make a hat turn up in the back, or roll on the 
side, and give all sorts of delightful curves to the rest of 
the brim. 

Changing a Hat Into a Turban 

Figure 4 shows how the brim may be slashed, and 
turned up, and overlapped, to change it into a turban, and 
also explains how the brim edge can be given little slashes 
of the same depth and overlapped to make a standing edge. 

Figure 5 shows a ripple brim made by the inset of many 
gores at regular intervals. By experimenting with overlaps 
and gussets, all sorts of results may be produced. They 





No. 5. Gussets produce a'ripple effect No. 6 Sloping the crown by means of plaits 

should first be cut in stiff paper patterns and sewed to shape 
and fitted to the head before cutting from the buckram. 

Generally the fancy buckram shapes are purchased 
from the manufacturers, but it is very essential that every 
milliner should know how to produce varied shapes from 
the plain piece of buckam, as there may be places and times 
when she could not procue them in the usual way, when 
badly needed, and for the home economist it is always well 
to know how to change last year's shape into this year's. 

56 



A COMPLETE COURSE IN MILLINERY 
Removing Dents in a Used Shape 

If the shape has been used, and dents are in it, they 
can commonly be removed by holding the shape over the 
tea kettle spout for a few moments and pressing it into the 
proper form with the fingers. If this process is not suffi- 
cient for the brim, wipe a slightly dampened cloth over it, 
and press with a very moderate iron and with a piece of 
tissue paper or thin cloth between the buckram and the 
iron. If the buckram is made too damp or the iron is too 
hot it will stick. 

If there are overlaps or gores in the frame and it is to 
be covered with velvet in smooth plain form, one thickness 
of flannelette or thin sheet wadding, laid on the upper side 
of the brim will hide all irregularities. It should be cut so 
it will be perfectly smooth and not overlap in any place. 

In making a soft crown or a stiff one, the side crown is 
often sloped, sometimes contracting as it goes toward the 
crown top and sometimes flaring out. These results can be 
accomplished by slashing the plain straight side crown as 
in Figure 6, and then the broader edge can be placed next 
to the headsize, if a contrasting side crown is desired, or the 
narrower edge can be used next to the headside, and the side 
crown will then flare at the crown top. If it is desired to cut 
the side crown in one piece, fit a straight pattern, that is slashed 
and overlapped as Figure 6, on the buckram and cut it in one 
continuous piece, allowing one inch on either end for the over- 
lap in closing it, at the back. 

The brim edge itself can be changed in shape anywhere 
and to any amount. It can be shortened in the back by cut- 
ting away a long sloping portion, or in the same manner 
the front can be shortened, on either or both sides. The 
brim edge will have to be cut down if a turban or toque is 

57 



A COMPLETE COURSE IN MILLINERY 

made out of a plain Gainsborough brim, otherwise it would 
stand up too high. Take a plain Gainsborough brim, shorten 
it to half its width in the back and let it gradually widen to 
the brim edge in front, then slash the back from the brim 
edge to the headsize, and overlap at the brim edge until it 
almost droops into the neck. Next slash directly in front 
from the brim edge to the headsize, overlap at the brim 
edge, and a poke brim will be produced. It may need more 
or less overlapping in the front or back to fit any certain 
face, and the brim edge can be changed slightly to make it 
more becoming. 

Remember, lastly, that there is no limit to the possibili- 
ties of a plain piece of buckram with gussets and overlaps. 




Typical Hat of Rococo Period (1770) 



58 



A COMPLETE COURSE IN MILLINERY 

LESSON XI 

Emergencies in Frame Making 

Before leaving the subject of frame work, we will have 
a few suggestions for emergencies. Suppose you suddenly 
need a round crown and none are at hand or procurable. 
If you have a mold or form, and buckram, one can be 
made nicely by setting overnight. The mold is commonly 
made of plaster of Paris, held together with hair fibres of 
some sort. However, there are workers in fine hard woods, 
who supply many forms for milliner's use. 

A piece of buckram that will extend an inch beyond 
the mold, clear around, is cut from the roll. The pattern 
can be obtained by measuring the mold fom the headsize 
to the center at the top of the crown, and over the opposite 
side to the headsize again. This will give the diameter of a 
circle, which can be cut from paper, allowing the extra inch 
around its edge. Place this pattern on the buckram and cut 
it out. Pass the buckram rapidly under a faucet, shaking 
ofif every drop of water that will come, then place it on the 
mold, with the center of the buckram over the center of 
the top of the mold. 

To Make Buckram Pliable 

A very little water makes buckram pliable so it can be 
easily stretched. In fact, after a few moments standing it 
seems to get wetter and wetter all the time. So be sure it 
has not too much moisture to begin with. Draw down the 
buckram across the straight of the goods and again across 
the straight of the goods at right angles, dividing the buck- 
ram into four equal parts. The straight of the buckram 

59 



A COMPLETE COURSE IN MILLINERY 

will not stretch very much, but the bias will. Pull down the 
bias at the bottom and work it down from the top, and the 
opposite (bias) side treat in the same way. Then take the 
bias sides at right angles and pull them down in like man- 
ner. ISi'early all the creases can be worked out, with pa- 
tience, and when finally it is as smooth as possible, take a 
good stout string and tie it very tight, about an inch above 
the bottom of the mold. This string can be turned over 
and over as you work it downward, all the while getting 
tighter and tighter. Stop at the bottom, where the string 
will stay, when the crown is taken off of the mold, and will 
mark the place to trim off the buckram, and then sew on 
the wire around the headsize. 

If this crown is made in the evening and allowed to set 
until the next morning it will be almost dry, and in the 
proper state to take ofif the form. 

It may stick a little, but by careful work can be re- 
moved without spoiling the shape. It must dry perfectly 
before it is trimmed off about the headsize, and the wire 
sewed on, when it is complete. 

Suppose you were in the country, away from all marts 
of trade, and had no buckram. Take crinoline, and if it 
were the stiff kind, one thickness is first taken, exactly as 
the buckram was dampened and then put over the form. 
Go over it with a brush and shellac, weak glue, or flour 
paste, if nothing better offers. Put on a second layer of 
the crinoline, exactly as the first, only the last layer is not 
treated to the shellac or glue. Work out all the wrinkles 
possible and tie the string, as in the buckram. Be sure the 
shellac, glue or paste is put on lightly, not making the 
crinoline too wet, or it will adhere to the mold. If no mold 
is available, it is astonishing what forms one can get from 

60 



A COMPLETE COURSE IN MILLINERY 

common household utensils. One can make a pretty crown, 
stretched over the bottom of a serving dish. There are al- 
ways bowls, cans, pitchers or pans, that can give shape to 
a crown. If the utensil proves too shallow, make the upper 
portion of the crown and piece it down with paper, getting 
the proper slope, and use the paper as a pattern to cut out 
buckram or whatever stiffening material is at hand and sew 
it on the bottom of the crown. 

The crown made of crinoline should be treated just as 
the buckram in its finishing. When the crinoline is soft and 
rather flimsy it takes three thicknesses to make a good 
crown. Put the sizing or stiffening over the first and sec- 
ond layers, but not over the outside one. Colorless shellac 
can be bought at the drug store and dissolved in alcohol and 
kept in a bottle for instant use, or a regular white shellac 
can be purchased already prepared. In the wholesale mil- 
linery houses, a milliner's shellac absolutely colorless will 
be found on sale. It can be used for many things besides 
frames. Two ribbons may be shellacked together to give 
two-toned effects. It is also used to lacquer leaves and 
quills. 

If a special shape is desired and there is no mold to 
form it, make a crown or brim of very strong wire, placing 
the stay wires not more than an inch apart, and let the tie 
wires be twisted together on the opposite side from where 
the buckram will be used. The tie wire would necessarily 
make a little hump in the buckram, which is to be avoided. 
Use this crown or brim just as you would a mold, and it 
will be found useful. 

Willow mesh is also used for crowns, and when dipped 
in sizing can be stretched into almost any shape. It must be 
carefully handled as it ravels easily. It is liked for col- 
lapsible crowns. 

61 



A COMPLETE COURSE IN MILLINERY 

Copying a Buckram Frame 

Suppose a copy of a buckram frame must be had at 
once, with no chance of molding overnight. Take the crown 
first. The mold, wire .frame or buckram crown itself, which 
is to furnish the pattern, is laid over with soft brown paper, 
pressed down carefully from the top toward the base, work- 
ing the fulness into as few creases as possible. When the 
paper gives a perfect imitation of the shape of the mold, 
wire frame, or buckram crown, mark all the creases with a 
lead pencil, both where the fold is laid back on itself and 
where it meets the goods under it. Remove the paper, 
straighten it out, and cut out all the superfluous paper con- 
tained in the creases. Lay this pattern on the buckram, 
allow a quarter of an inch margin beyond all the penciled 
lires for overlapping. Bring these overlaps of the creases 
together so that the penciled lines will be exactly over each 
other, and stitch in place. Get the distance from the top of 
the crown to the headsize all around and cut off the buck- 
ram at the headsize and wire it. There may be little pro- 
jections or fulness where the creases begin in the buckram. 
Dampen the finger very slightly, place some hard round 
object underneath and press down firmly from the right side 
and the projection will disappear. 

You will find this quickly made frame a perfect copy. 

The brim has been spoken of at length in former les- 
sons, but to recapitulate, the fiat brim can be always 
draughted directly on the buckram and cut from it. It can 
be given the various shapes by overlaps and gussets. It 
can also be molded on the convex side of a wire brim, used 
as a mold. The buckram in that case is dampened and 
stitched or pinned down around the edge. 

62 



A COMPLETE COURSE IN MILLINERY 

If you wish to give a curve to a straight buckram brim, 
slash the buckram across its grain and bias to the curve 
you wish to make. Make two slashes about 2 inches apart. 




*Mje. 



Take a moderately hot iron and pass over the buckram. 
lifting up one edge of the iron and curving it in the direc- 
tion desired. For instance, if the side brim is to be curved, 
slash it twice on the bias, then place the iron on its edge 
at the headsize and move toward the brim edge, giving the 
iron a rounding movement. Experiments with making 
curves with an iron, cutting patterns and molding crowns 
will lead to wonderful results if persisted in. 

Before we leave this subject we will suggest a substitute 
for a bandeau. Take a piece of crinoline, roll it into a tube, 
one and a half inches in diameter, stitch it so it will not 
unroll but so the hollow tube is preserved. Place it at the 
headsize within the hat lining and secure it with a few tie 
stitches. It will be pliable and will adjust itself to any head. 

63 



A COMPLETE COURSE IN MILLINERY 

Tissue paper can be used in the same way, but is not so 
satisfactory, as it packs in time and is rather heating. 

To make an oblong pattern for a flat buckram brim, cut 
the round disk, as shown in the former lesson. Take a 
larger piece of paper, place the disk upon it, and draw a line 
around its edge (see Figure A). Determine how much 
longer the final pattern is to be, and mark the distance from 
the brim edge at Figure B. Slip the disk over to Figure B 
and draw a second circle around its edge. Place the flat of 
the forearm opposite the center of the two circles, and put- 
ting a pencil on the brim edge at C, with a free hand rr.ove- 
ment, holding the flat of the arm as an axis, make the dotted 
line D. Turn the pattern, and make a similar line E. This 
cut out will give the elongated sides, or a brim longer front 
and back, according to how the crown is piaced. The extra 
width is determined by how far over the second outline of 
the disk is drawn from the first. 




64 



A COMPLETE COURSE IN MILLINERY 

LESSON XII 

Covering the Buckram Frame 

After considering the construction of the buckram 
frame and its variations we will next take up the covering 
of it. The brim edge of a buckram frame is sharp and cut- 
ting and must be padded before the velvet is put on. Any- 
velvet too badly damaged for exterior use may be cut into 
bias strips, half an inch wide, and commencing at the back, 
placed evenly over the edge, swinging back and forth, with 
stitches about one-third of an inch on either side. When 
bringing the ends together do not overlap them, but bring 




Covering the buck- 
ram foundation of 
the crown and brim 




them together and cut off squarely, so they meet, and there 
will be no double thickness. This is called rough binding, 

65 



A COMPLETE COURSE IN MILLINERY 

Old velvet, silk or cotton fabrics can be used, and prefer- 
ably should be cut on the bias. The under brim may have 
a thickness of crinoline, flannelette or sheet wadding, laid 
over it, to keep the wires from showing through the velvet. 
It should be caught down by stitching it to the binding of 
the brim edge, after it has been carefully pinned in place. 
Cut it off even with the brim edge. 

Applying the Fabric to the Brim 

Now the brim is ready to cover with velvet. Place the 
bias of the velvet at the front of the upper side of the brim. 
Secure it to the brim edge with a pin, which we call the 
placing pin. Smooth out the velvet over the brim, so the 
goods will lie on the bias, from the front to the back. Put 
in a pin on the brim edge, where the straight of the velvet 
comes, next to the placing pin. Follow the straight of the 
goods to the opposite side, and pull it sufficiently to make 
the velvet very smooth. Put a pin in the brim edge to se- 
cure it. Next pin down the straight of the goods, at right 
angles, in the same manner. The four bias spaces between 
can now be pulled down until the velvet smooths out per- 
fectly, then pin it in place. These pins should be all around 
the brim edge, about one inch apart, and all pointing toward 
the center of the brim. Cut ofif the velvet, so it projects 
half inch beyond the brim edge. Turn it over the brim 
edge and catch it down to the rough binding In short 
stitches, as shown in illustration. 

Stitch around the headsize wire with stitches half an 
inch long on the right side and short ones on the under 
side. Let this stitching come just under the headsize wire 
from the direction of the brim edge, and to take up all ful- 
ness place the needle at an angle of forty-five degrees to the 

66 



A COMPLETE COURSE IN MILLINERY 

brim and come back from the other side at the same slant. 
This draws the velvet under the headsize wire and makes 
the stitching disappear. 

Facing the Brim 

Next put the velvet on the under side of the brim. Take 
a bias of the velvet, and pin it at the front of the brim, un- 
derneath. Smooth out the goods, pin it so the bias goes 
across the center of the underbrim, then pin the velvet on 
the straight of the goods next to the placing pin and stretch 
it across on the straight of the velvet to the other side. 
Then take the two straight places on the brim edge that are 
at right angles and secure them in the same way. All the 
remaining fulness can be taken up as the four bias places 
are drawn down and secured. Cut off the velvet, leaving a 
projection of half inch beyond the brim edge. Turn this in 
even with the upper edge and blind-stitch it to the velvet of 
the upper brim, on the very brim edge. The stitches should 
be even and about a quarter inch long. Watch that the thread 
as it comes from the upper into the lower velvet edge is 
so arranged as to come straight across, in which case it en- 
tirely disappears as the two edges are drawn together. For 
if the thread is slanting it will show. Baste around the 
headsize, about an inch outside of the headsize wire, and 
use a fine needle, as it has to go through the velvet on the 
upper side of the brim, and as small punctures as possible 
are desirable. Use the fine thread, because it has to be re- 
moved and leaves less markings. 

Cut out the headsize of the under and upper velvet, 
leaving an inch to turn up into the crown and baste it into 
the headsize above the wire with long stitches on the inside 
next to the head. If it should bind, slash it, as the buckram 

67 



A COMPLETE COURSE IN MILLINERY 

was slashed. Straighten the slashed buckram in the head- 
size so that it will stand up withiA the crown. Take the 
two thicknesses of velvet with it, and overcast them to- 
gether around the upper edge, keeping the upright position. 

The crown is next to cover. Rip out the top crown, 
take out the small plaits and smooth it out with the hand 
or press it with a very moderate iron. The markings of the 
plaits must not be obliterated. Baste this lining of the top 
crown to the wrong side of the velvet, with the bias at the 
front, and cut it out. Lay over the plaits as marked on the 
lining, and baste them down again. Cut a bias piece of the 
velvet as wide as the side crown, with an added inch on 
either edge, and long enough to go around the side crown. 
A little of the width will be taken up by stretching the vel- 
vet around in place, and the extra width that is left will b€ 
lapped over the top and bottom edge, making the lapovers 
even. 

Start in the back, cut the bias velvet across from top 
to bottom of the side crown, turn in half inch, and pin it 
down. Stretch the velvet from this point around the side 
crown, drawing it tight enough to lay nice and smooth, and 
bring the end to the place of starting. Cut it off square, 
turn in half inch and blind-stitch it to the piece that is laid 
under at the beginning. The lapovers may be laced back 
and forth from the upper edge to the lower edge on the 
inside with the saddler's stitch, which will be found in the 
lesson on "Stitches." 

The rough binding of the side crown is a matter of 
dispute among milliners. Some use no binding at all, some 
bind the upper edge and some bind both edges. If the . 
rough binding is used, the overlaps on the side crown can be 
secured to the binding with the same stitch that is shown in 

68 



A COMPLETE COURSE IN MILLINERY 

sewing the upper velvet of the brim to the rough binding. In 
any case, the stitching on the side crown velvet must not be 
seen from the- right side. 

Now tack in the top crown, and this can be done with 
a long stitch on the inside and a short one brought through 
barely over the top of the side crown, but toward the crown 
top, and enough on the inside so it does not show from the 
outside. With the long millinery needle this can be accom- 
plished and draw it up tight with the stout thread and all 
stitching will disappear. 

Place the crown on the center of the brim. Take a stitch 
under the side crown where it lies on the brim, and then 
thrust the needle through the brim with a stilting stitch. 
Pull the thread firmly to the right, on the under side of the 
brim, and it will make a tiny opening in the fabric, where 
the needle first came through. While the thread is held 
very taut, insert the point of the needle into the tiny hole 
at the thread base, incline the needle at right angles from 
which it came through the brim, in the first place, and the 
thread will be drawn back through the hole and entirely 
disappear if no portion of the fabric has been allowed to 
come between the thread base and the needle point. This 
is called the '^Hidden Stitch." (See lesson on ''Stitches.") 
If the threads of the goods are slightly disarranged by pull- 
ing the thread they can easily be put in place with the 
needle point. This stitching is continued around the crown, 
and finally secured within the headsize. 

A crown is put on with a tie stitch, when a fold is to 
be placed at the crown base to hide the stitches, but even 
then the hidden stitch should be used on the under side of 
the brim. 

In a few exceptional cases the crown is sewed on be- 

69 



A COMPLETE COURSE IN MILLINERY 

fore the under side of the brim is covered. Some silks and 
other closely woven materials show every prick of the nee- 
dle, and then we sew on the crown first and cover the under 
side of the brim afterwards. It is an awkward job at best 
and is rarely necessary. 

In many of the bought frames there is an upward pro- 
jection of the brim, around the headsize, that makes it pos- 
sible to sew the crown to the headsize without leaving 
stitches that will show after the lining is sewed in. If the 
material on the underside of the brim is left loose at the 
headsize and the crown is small enough to fit close to the 
headsize of the brim the fabric from the under brim may be 
held back sufificiently to sew the crown to the brim head- 
size, and afterwards the fabric from the under brim may be 
carefully smoothed into the headsize and stitched to the 
slashed buckram that stands upright within the headsize. 

Lastly, the lining is put in as shown in a former lesson 
and the Gainsborough hat is complete. 




Mid -Victorian Styles i860 70 

70 



A COMPLETE COURSE IN MILLINERY 



LESSON XIII 

Brim Finishes 

Most of the variations of a brim covering are intro- 
duced by covered wires. The illustration shows three sec- 
tions of the brim, each exemplifying a different method of 



No. 



No. 2 




No. 



brim covering. In No. i heavy cable wire is sewed to the 
upper side of the brim on its brim edge, but not over it, for 

71 



A COMPLETE COURSE IN MILLINERY 

the circumference does not want to be increased. When 
the ends of the wire come together, after going around the 
brim edge, do not overlap them, but let them touch, making 
a complete circle. 

Cable wire is the largest millinery wire used, and is 
covered with a cotton filling, and then wound around with 
silk thread. It will usually allow a needle to go through 
the filling, and the wire should be caught on its underside 
and tacked to the brim edge, for an overcast stitch, unless 
it went in very closely under the wire, would prevent later 
the proper use of the velvet covering. 

Next put on the velvet or fabric of the upper brim, as 
instructed in former lesson. Take strong thread, prefer- 
ably of the same color as the velvet, and stitch the. velvet 
down close under the cable wire, on the side toward the 
headsize. Take stitches one-quarter of an inch long on the 
right side, and incline the needle outward, toward the brim 
edge, at an angle of 45 degrees, and go through the buck- 
ram and make a short stitch on the under side. When the 
thread is drawn tight it will disappear under the cable wire. 
After this is completed, take the velvet over the cable wire, 
down under the brim edge, and fasten it to the rough bind- 
ing of the frame, as formerly shown. Be sure that the vel- 
vet or fabric is perfectly smooth over the wire, without a 
wrinkle. The wire will now stand on the brim edge, making a 
clearly defined finish. 

The underbrim velvet is now brought up, turned in, and 
blindstitched to the upper side, the stitching coming through, 
!>n the upper side, at the crease under the cable wire. 

The cut shows a cable wire inserted between the upper 
and lower covering of the brim. This cable wire Is covered 
separately with a bias piece of velvet, and is then sewed to 

72 



A COMPLETE COURSE IN MILLINERY 

the velvet from tlie upper side of the l^rim, where it is brought 
over the brim edge, and secured to the rough binding. The 
wire projects shghtly beyond the brim edge, and is fastened 
to the velvet, with the same stitch used in securing the velvet 
to the rough binding. 

Lastly, the velvet from the upper brim is brought up and 
turned in against the wire ; and the upper brim velvet! and the 
lower brim velvet are blindstitched together, going through the 
velvet that covers the cable wire, and letting the wire project 
beyond the blindstitching. This makes a plain, substantial and 
well made brim edge. 

Inserting the Brim Wire 

No. 3 shows where the raised and covered cable wire is 
set far in from the brim edge. The upper side of the brim 
is first covered with the velvet, from the headsize to where 
the raised wire is wanted. This should be marked off before- 
hand with a pencil, describing! a circle at a regular distance 
from the brim edge. Allow one-quarter of an inch extra for 
the wire to rest upon. It should be carefully basted dow^n 
around this edge, far enough in so there will be no danger 
of its frkying. Cut out a circle of paper, having the diameter 
of the brim, as you were taught in a former lesson on the 
Gainsborough hat. Cut out the center of this pattern, while 
it is folded, so that it will leave a circle extending from the 
brim edge, and overlapping the velvet from the headsize 
by one inch. Lay the pattern on the velvet and cut it out, 
allowing one-quarter of an inch on its outer edge to come 
over the brim edge and be secured to the rough binding on 
the frame. Place this circle of velvet on the brim and 
baste it down one-half inch from the brim edge. Put the 
cable wire under the inner edge of this circle of velvet, pass 

73 



A COMPLETE COURSE IN MILLINERY 

the velvet over it, and tuck the edge well under the wire. This 
edge sometimes has to be clipped with little gashes, that it may 
stretch sufficiently to lie smoothly. Now stitch down the vel- 
vet under the wire, inclining the needle at an angle of forty- 
five degrees toward the headsize, and making the stitching 
from the side of the wire nearest the brim edge. The stitches 
should be one-quarter of an inch long, with the short stitch 
on the under side. When the thread is tightly drawn it will 
disappear. This gives a truly stylish finish to a brim, and as 
many wires can be introduced as desired, one fitted circle of 
velvet being overlaid by another. 

If the distance between the wires is small, a bias piece of 
velvet could be used instead of the circle. The bias piece 
should be stretched on the outer edge, and held in as small 
space as possible on the wire, yet it must be smooth. The bias 
piece, used in this way. always necessitates a seam in the back, 
which must be made by turning in each end and blindstitching 
them together. This does not leave so nice a finish as the 
smooth circle. The cable wires may be placed anywhere, from 
between the upper and lower brim coverings to the headsize. 
Great ingeniousness may be displayed in their arrangement. 




74 



A COMPLETE COURSE IN MILLINERY 



LESSON XIV 
Covering the Crown 

To cover the crown with any fabric requires the same 
treatment for a flat top crown, the bowl shape, or the 
rounding elongated one. 

The straight of the goods is brought down in front and 
folded under the headsize wire and pinned in place, then 
the fabric is carried up and over the center of the top crown 
to the back, all the while on the straight of the goods. Turn 
it under the headsize and pin down as in front. 
Pinning the Fabric to Place 

Next, the two straight places in the goods at right 
angles to the front and back are drawn down on the sides 




The stiffened 
crown, ready 
to join to 
brim. 



and turned under the headsize wire and pinned in place so 
that it will divide the space around the headsize into four 

75 



A COMPLETE COURSE IN MILLINERY 

equal parts and also equally dispose of the fulness of the 
goods. A few inches on either side of the direct front the 
fabric can be drawn down and pinned under the headsize 
without leaving any crease near the crown top. This space 
depends upon the pliability of the cloth. The more pliable, 
the larger the space that will lie smoothly at the front and 
over the crown top to the back pinning. The same is true 
of the sides, and if the crown is oval, the plain spaces on 
the sides will be larger than the front and back. Pin all 
these four smooth places down firmly and you will find all 
the fulness is confined to small spaces, four in number. 
These are all on the bias. Pull the goods down firmly to 
the headsize. Each space is now covered by five small 
plaits of the goods and are laid in the same direction in 
each of the four spaces. These plaits are laid so that they 
touch at the bottom and spread out toward the crown top 
like the ribs of a fan. You will find by experiment that 
any direction can be given to these plaits in proportion as 
you pull the fabric on the upper or lower side of the plait. 
To lay them exactly takes patience and care, but can be 
readily done with practice. 

The headsize may be finished with a binding, as in the 
illustration, or overcast and the stitching hidden later with 
a finishing fold or the milliner's fold, and often the headsize 
is completed by simply turning under the goods and sew- 
ing it around with the stilting stitch, without any other finish. 

The soft crown was explained in fhe covering of the 
Gainsborough hat. A heavy wire covered with the goods 
adds much to the appearance of a soft crown, when it is 
introduced at the top of the side crown. That can be done 
in the same manner in which it is used on the brim edge. 
That is, it. may be inserted under the fabric of the side 

76 



A COMPLETE COURSE IN MILLINERY 

crown itself and stitched down to make the edge finish at 
the top of the side crown, or the wire may be covered 
separately and sewed in between the side crown and the 
crown top. Sometimes a heavy wire is also placed as a 
finish at the headsize. It can be introduced in either of the 
ways described relative to the wire at the top of the side 
crown. 

The Two-Piece Crown Covering 

Another method of covering the crown is that in which 
two pieces of velvet or other fabric are used, one to cover 
the crown top, and another, cut on the bias, for the side 
crown. Take a round crown or an oval one, as shown 
in the illustration, mark off a line 3 inches above the 
headsize wire, completely around the crown. This will de- 
fine the base of the crown top. Place a bias of the goods 
at the front and on this line and pin it there. This is the 
placing pin. Next take the straight of the fabric, on the 
right front, let it run across the crown top to the left back, 
on the straight, and secure both places with pins on the 
line drawn for the base of the crown top. Draw down the 
goods at right angles and pin on the line. Now you will 
find that the four, remaining spaces can be drawn down to 
the line at the base of the crown top until all creases will 
disappear and the crown top will be perfectly smooth. Pin 
it down at the line carefully and stitch it around with a 
stitch one-quarter of an inch on the outside and very small 
on the inside. 

Stretching the Goods to Assure Smoothness 
Cut a bias strip of goods long enough to go entirely 
around the side crown and, to turn in half an inch on either 
end where it comes together. This piece must be 

77 



A COMPLETE COURSE IN MILLINERY 

broad enough to turn one-third Inch on both the 
upper and lower edge. To make it perfectly smooth it 
will have to be stretched around the side crown, and as 
this always lessens the width, it is best to stretch it around 
before cutting to get some estimate of its width. If the side 
crown slants outward as it goes toward the headsize, 
stretch the goods most on its lower edge so it will fit the 
side crown. Commence in the back and turn in the end of 
the bias piece half an inch, then turn in the upper edge one- 
third of an inch and pin it around the crown top at the 
drawn line, so it will nicely cover the stitching that holds 
the crown top. This bias side crown must be fitted as you 
go, stretching the lower edge if it flares or so disposing 
the fabric that it will cover smoothly any irregularities. 
When it is around, turn in the end for half an inch, make 
the last turn in at the top, and bring the two ends together 
and blindstitch them down from the base of the crown top 
to the headsize. The upper edge of the side crown may be 
blindstitched to the crown top, or a few stitches may be 
used to hold it in place and keep it from slipping down. 

Turn under the lower edge, inside of the crown, and 
overcast it about the crown base, if it is to be finished later 
with a fold about the crown base which will hide the stitch- 
ing; and if not, sew it down with the tiniest stitch possible 
on the right side, just above the crown base wire and a 
stitch about one-quarter of an inch long on the inside of 
the crown. A wire of any size may be inserted under the 
upper edge of this bias side covering and sewed down in 
the manner before described. These things are matters of 
taste. 



78 



A COMPLETE COURSE IN MILLINERY 



LESSON XV 
Folds and Hems 

Before leaving the velvet work w^e will consider several 
lines of embellishment where the velvet is used for decora- 
tive purposes. 

First, we will take the folds. The finishing fold, desig- 
nated by Figure i in the illustration, is a narrow bias piece 
of velvet, with the edges turned over on to the wrong side, 




No. 2. The milliner's fold 



See Lesson III page 17 
Stitches Used in Millinery 



and held together with the saddler's stitch (see lesson on 
Stitches). This finishing fold is used at the base of the 

79 



A COMPLETE COURSE IN MILLINERY 

crown to hide the sewing, when the crown is put on with 
visible stitches. It is drawn around the crown base, tight 
enough to decrease the width of the fold, but not so much as 
to detract from its beauty. Turn in the ends at the back 
and blind-stitch them together. If there is to be an orna- 
ment or bow placed anywhere about the crown, let the 
finishing fold end under the ornamentation. In such event 
the ends do not need to be turned in, but cut them ofif 
smoothly, where they come together, and sew them down 
firmly with visible stitches. 

This fold is sometimes placed at the top of the side 
crown as a finish, or by slightly stretching one edge of the 
fold, it may be laid around the brim near its edge, or any- 



No. 3. The triple fold 



where from the brim edge to the headsize as taste may 
suggest. In using it in this manner it is blindstitched in 
position on its stretched edge only. 

The Milliner's Fold, seen in Figure 2, is made of a 
wider piece of bias velvet than the finishing fold. The edge 
is turned over from the right side for the width of one-third 
of an inch and stitched in place on its lower edge with the 
long stitch on the side of the turned over edge, and the 

80 



A COMPLETE COURSE IN MILLINERY 

short stitch on the right side of the velvet. Take the other 
edge of the velvet that has not been used, turn it over in the 
same manner as the first edge, and make it of the same 
width, but do not stitch it down until you bring it up on to 
the first edge which is folded over, then blindstitch the sec- 
ond edge to the first, leaving enough of the first to look like 
a cord above the second. 

The milliner's fold can be used for the same purposes 
as the finishing fold, but when it is placed about a brim 
must be stretched on the plain edge, away from the corded 
efifect, as there is too much sewing to admit of much elas- 
ticity. 

These two folds are best adapted to velvet or silk, but 
can be used when made of any fabric provided it is not trans- 
parent. 

The Triple Fold 

The third illustration shows the triple fold. This takes 
a wider length of bias velvet than either of the two former 
folds. The edge is turned over and stitched down like the 
commencement of the two other folds and should be the 
same width. A small seam is now made in the velvet, paral- 
lej to the turned over edge, and on the wrong side of the 
goods. This seam must mark the termination of the oppo- 
site edge of the fold, and this edge must be of the same 
width as the first edge, and must also equal the width of 
the middle section of the completed fold. The middle sec- 
tion begins with the small seam (which must be held in di- 
rection toward the first turned over edge) and terminates 
with the turned in edge of the goods, which is blindstitched 
to the first turn over, leaving the three sections of equal 
width. Its construction can be seen in illustration. 

81 



A COMPLETE COURSE IN MILLINERY 

Figure 4 shows the mourning folds, and they are par- 
ticularly nice for crape or very soft goods of any kind. These 




No. 4 

Mourning folds 



folds are sewed on some base, as buckram, rice net, crino- 
line, etc. The first fold is placed over the edge of this base, 
as a binding, and is stitched through and through, with 
equal stitches on either side. All the stitching on the mourn- 
ing folds should be made as near the lower edge as will 
hold the goods firmly. The next fold is a bias piece, dou- 
bled, and sewed on by its lower edge, with the long stitch 
on the right side. The fold must be so placed that it will 
cover the sewing at the lower edge of the binding, and each 
succeeding fold must cover the stitching that holds the fold 
before it. The velvet of the last fold is made longer on one 
side than on the other, and this long side is taken over the 
edge of the base and tacked down on the wrong side of the 
base. The long side makes the outside of this last fold. 
The folds when completed should be of equal width. The 
name mourning fold is misleading, as they can be used 
equally well for hat bands, girdles, belts, or for dress trim- 
ming, and can be made of silk, satin, velvet, crepe or any 
fabric that will not show the stitching. They may be made 
in any number or width, and can be sewed directly on the 
side crown of a hat. 

82 



A COMPLETE COURSE IN MILLINERY 

The Slip Stitch Hem 

Next we will consider the various hems used in mil- 
linery. The first and most important is the slip-stitch hem 
designed to be used where no stitching is to be seen upon 



No. 6 


No. 5 


The 


The 


Cross-stitch 


Slip-stitch 


Hem 


Hem 



the right side, and only two folds of the goods employed. 
Take velvet, for instance, as in Figure 5, and turn over the 
edge on to the wrong side, for the width of one-third of an 
inch. Take up the fewest threads possible of the back 
weave of the velvet, never letting the needle go through the 

83 



A COMPLETE COURSE IN MILLINERY 

pile on the right side. Draw the thread through, and sHp 
the needle under the turned over edge, nearly to its top, 
so that by no chance the raw edge could ravel out. Thrust 
the needle through, draw down the thread diagonally, and 
take another small stitch in the backing, and slip the needle 
under the turned over edge, as before. This gives a flat 
hem of only two thicknesses, and no visible stitches, and is 



No. 7 
The Blind Hem 




very useful in millinery. It may be used in any goods, but 
stitches are most easily hidden in fabrics with a nap. 

The Cross Stitch Hem 

The cross stitch hem (Figure 6) is laid like the slip 
stitch hem, but is held in place by the cross stitch, some- 
times called feather stitch (see lesson on Stitches) and the 

84 



A COMPLETE COURSE LY MILLINERY 

thread is never visible on the right side. The blind hem is 
made by turning over one-half inch of the goods on to the 
wrong side, and then tucking under the edge of the piece 
that is brought over from the right side as Figure 7. The 
needle is then inserted in the tube thus formed, and along 
its lower edge. Bring out the needle barely under this edge, 
pick up a few threads of the backing, exactly opposite the 
place where the needle comes through, insert again in the 
tube and continue this stitching, remembering all the time 
that stitches must be directly opposite so that when the 
thread is drawn taut all the stitching will disappear. Hence 
it is the blind hem. 

The Cord Hem 
The cord hem requires a wider piece of velvet than the 
former hems and is shown in Figure 8. A cord is covered 




No. 8. The Cord Hem 

with silk, or some other material, usually in colors. It is 
placed one and one-half inches from the edge of the goods, 
and basted down, with the cord itself farthest from the edge. 
The velvet is then drawn over the cording from the edge 
until it covers all but the narrow cord itself. Have it lie 
smoothly, holding the rough edge of the cord in a pocket- 
like fold of the velvet. Sew down the velvet so that the 
cord projects. This must be done with stitches sufficiently 

85 



A COMPLETE COURSE IN MILLINERY 

short to hold it firmly in place, as the velvet must be turned 
back again toward the edge and brought over and around 
the velvet pocket that holds the rough edge of the cording. 
Here it is slip-stitched, cross-stitched or blind-stitched 
down. This gives an edge of black velvet, for example, a 
cord of color, and both together make the cord hem. It is 
used when some color scheme is being carried out. Suppose 
the black velvet hat was trimmed with a pink, red or gold 
rose, and loops of black velvet were to complete the garni- 
ture. If they were finished with the cord hem, using the 
color to correspond with the rose, it would give a note of 
distinction. All these little schemes help to develop some 
dominant note in millinery, as beautiful and appropriate 
words transmit and embellish our thoughts. 

Figure 3 shows a wider binding, and is called the half- 
stretched binding. One edge of this binding is slipstitched 
and the other is left raw, just as it was cut. The first thing 
to do is to measure this binding, to find where it must be 
stretched. The raw edge has to be sewed to the under side 
of the brim about one-third of an inch from the edge of both 
the binding and the brim edge. Measure the one-third of 
an inch that will extend from the raw edge of the binding 
to the place where the sewing will come. Then measure 
one-third of an inch back to the brim edge, as the slip- 
stitched edge of the binding will be turned up and over the 
brim edge to the upper side of the brim. At the point where 
the velvet reaches the brim edge, hold it firmly by the fore- 
finger and thumb of the right hand and place the forefinger 
of the left hand underneath and the thumb above, and pull 
and stretch the velvet toward the left, along the line where 
the brim edge will come, being very careful not to stretch 
either the slipstitched or the raw edge. Sew the raw edge 

86 



A COMPLETE COURSE IN MILLINERY 

on the under side of the brim edge, one-third of an inch 
from it ; turn the binding over on the upper side, and it will 
lie smoothly, on account of the stretched brim edge. 

The Full-Stretched Binding 

Figure 4 shows the full stretched binding, the best one that 
is made. Both edges of this binding are slipstitched, and 
it is pulled and stretched, in the center of its width, as de- 
scribed in Figure 3. Cut the end of the binding square 
across, turn it in, and pin it at the back of the brim edge, 
with equal widths on the upper and lower sides. Stretch 
a little piece with the forefinger and thumb of the left hand, 
smooth it down with the right, and place another pin by 
sticking it clear though the brim and binding. Continue 
thus around the brim edge, turn in the last end of the bind- 
ing and blindstitch the ends together. Sometimes the bind- 
ing widens out at the ends. Place them at the correct widM^ 
on the upper side, rip a little of the slip-stitching on the 
under side and take up the extra width. It is only a matter 
of patience, for by this process it can be made perfect. If 
the binding has to be pieced, make the seam with the 
straight run of the goods, which will give a bias efifect across 
the binding. Press the seam open carefully with the hands, 
as velvet will not stand an iron. It is best to place the piec- 
ing and the closing seam on the sides of the brim, as it is 
never desirable to have a piecing in front. The closing seam 
should be made on the bias, to correspond with the piecing 
seam. The closing is done with a blindstitch. 

The full stretched binding is sometimes put on with 
wires. Then no slip-stitching is done on the edges of the 
binding, but they are left just as they are cut. The binding 
is stretched in middle of its length and pinned down about 

^7 



A COMPLETE COURSE L\ MILLIXERY 

the brim edge, very tightly and smoothly drawn, and with 
the binding of equal width on both the upper and lower 
brim. It is basted down about one inch from the raw edges 
of the binding, a wire is slipped under the edge, the velvet 
tucked under the wire with a darning needle, and it is 
stitched in place with thread the color of the velvet, and if 
black it should not have a shiny finish. Never use silk, as 
it frays, breaks and works loose. The method of sewing 
down a wire is explained in a recent lesson. The needle is 
inclined at an angle of forty-five degrees under the wire, the 
stitch is made one-quarter of an inch long on the right side, 
and very small on the wrong side. When the thread is 
drawn up tightly it will entirely disappear under the wire. 
In putting on the full stretched binding with two wires sew 
on the under one first. The upper one is then sewed down, 
making the under stitch in such place as it will not show, 
hidden by the lower wire. Each stitch much be watched 
and made with care. The wired full stretched binding makes 
a very attractive edge for the brim. 

The Extension Shirring for Broadening the Brim 

To finish a brim edge, or more especially to make a 
brim larger, we have an extension shirring, shown in Figure 
5. This consists of a bias piece of velvet, which may be 
simply gathered on the turned in edge, or a small tuck may 
be taken and a cord or wire be inserted when gathered or 
tucked and ready to be put on. It is sewed barely over the 
brim edge, on the upper and lower side, with the stilting 
stitch. It is very scant as to fulness, making merely an un- 
dulating line, instead of a rufifle. 

This makes a narrow brim wide, and is often used to 
carry out a color scheme, being the color of flowers or feath- 

88 



A COMPLETE COURSE IN MILLINERY 

ers used to garnish the hat. If the extension shirring is very 
wide, it needs support. Lace wire bent into the form shown 
in Figure 6 and sewed around the upper brim, within the 
wiring of the brim edge, will support the brim extension, 
as this ruffled edge is slipped over the wire, one thickness 
above, and one below, and sewed on with a stilting stitch, 
so as to conceal the wire completely. 

By putting on this extension shirring and giving a dif- 
rent curve to a brim edge, an old hat may be made to look 
decidedly new. 




Before and After adding extension Brim 



A COMPLETE COURSE IN MILLINERY 

LESSON XVI 

Brim Bindings 

The first binding on a buckram frame is the rough 
binding, which serves a two-fold purpose. It pads the brim 




No. 1. Rough Binding 

edge, and keeps the buckram from cutting the outside vel- 
vet, and it also acts as an anchor to the velvet of the upper 




No. 2. Round Binding 
90 



A COMPLETE COURSE IN MILLINERY 

brim, when it is brought over the brim edge and stitched 
down, as explained in a former lesson. 




No. 3. Half-stretched Binding 

It is made of bias velvet, stretched smoothly and tightly 
around the brim edge, and sewed on with stitches one- 
quarter of an inch long, on either side. Here is a good place 



No. 4. Full-strelched Binding 

to dispose of old and discolored velvet, but there must be 
no overlapping when piecing is necessary, merely bring the 

91 



A COMPLETE COURSE IN MILLINERY 

ends together so they touch. Otherwise it would make a 
thick, knotty place on the brim edge. 

The other three bindings are for the outside finish of 
the brim edge. When we use any one of these it is only 




No. 5. Extension Shirring 

necessary to bring the upper and lower velvet of the brim 
even with the brim edge. To do this, pin the upper velvet 
in place as described in a former lesson ; baste it down with- 




No. 6. Wire Support for Brim Extension 

in one-half inch of the brim edge, with the long stitch on 
the upper side, cut the velvet ofif even with the brim edge 
and overcast it all around. Treat the velvet on the under 

92 



A COMPLETE COURSE IN MILLINERY 

side of the brim in the same manner. Be sure and trim the 
velvet even with the brim edge, for if it projects ever so 
little, and then is overcast, it will be lumpy, and show 
through the binding. 

Figure 2 shows the round binding. This is the narrow- 
est and most economical binding in use. It is made of a 
bias strip, which is slightly stretched, and sewed on the 
upper side of the brim near its edge. The stitches should 
be one-quarter of an inch long on the upper side ,and small 
on the underbrim. Bring the velvet over the brim edge, 
turn in the raw edge and blindstitch it down. This makes 
a truly round binding. Its width can be gauged by measur- 
ing the velvet on the upper and lower brim edge, and add- 
ing to that the turn in on each edge of the binding. The 
round binding is only recommended where economy is the 
object. 




93 



A COMPLETE COURSE IN MILLINERY 

LESSON XVII 
French Design Work 

The plain manner of manipulating velvets has now been 
carefully considered, and the next step is to learn some of the 
more fancy methods. 

French design work consists of sewing different patterns 
into the velvet, and allowing the proper fulness for their per- 
fect development. 

The first design shown in Figure 1, is called the chrysan- 
themum pattern, and Figure 2 shows the tracing done on the 
wrong side of the velvet, to be followed in the stitching to pro- 
duce this effect. Take an ordinary sized glass tumbler, turn it 
bottom side up, and draw -your pencil around its rim as it lies 
on the wrong side of the velvet. Put a dot in the center of the 
circle, and from it draw circular lines, as shown in the diagram, 
watching that the line next to the circle made by the tumbler, 
shall be properly spaced. Take a fine short needle, and No. 50 
thread the color of the velvet. Begin in the center and secure 
the thread firmly, as the gathering depends upon this fastening. 
Sew only three short stitches at a time, following the design, 
and after the second round is made, draw up the thread as tight 
as you can. From this point on do the gathering less and less 
tightly until the outer circle is completed. The center will then 
stand up like a cone as it has to be drawn so very tight in the 
center in order that there shall be any fulness on the outer 
edge. When the gathering is properly arranged a small hole is 
punched in the buckram, upon which the velvet is to be placed, 
and the top of the cone is pulled through the hole and given a 
slight twist. This arranges the radiating lines of the gathers 
more gracefully. Stick pins around the outer circle, just as it 

. 94 



A COMPLETE COURSE IN MILLINERY 

should lie on the buckram, take your needle, secure the center 
in its place and then tack down the outer circle. If any one part 
sticks up too much near the center, stitch it in place in the folds 
of the gathering, so it will not show. Press a refractory place 
down on the buckram, if it needs it, and take a stitch which 
must always point toward the center. Sewing crossgrain would 
be ruinous. 

For a flat brim, or the upstanding brim of a turban, eight 
designs will be found sufficient. One in the front, one in the 
back, two on the sides, at right angles, and finally, one between 
each of all these. That makes the eight. They should be on 




No. I. Chrysanthemum design. 

the upper side of a fiat brim, or the outer side of a turned 
up brim. In velvet we allow one and one-quarter of its length 
for all gathering. This will be found sufficient for the design 
work. Measure around the edge of your brim, and it will re- 
quire one and one-quarter times that amount in length to go 
around it. It should be a bias piece, as wide as the upper 

95 



A COMPLETE COURSE IN MILLINERY 

and lower brim, with one-quarter added. The velvet is one 
continuous piece, from the headsize over the upper side of the 
brim, down over the brim edge, over the underbrim to the 





headsize again. So with one-quarter added for the length and 
one-quarter added to the width you have the dimensions of 
the piece of velvet required for the brim. It will probably take 
two pieces of the bias velvet to make the brim. Sew them 
together in two diagonal seams so that it will make a circle 
of the velvet. Mark your first design for the front, and it 
should be in the middle of one of the bias pieces, so that the 
seams will be on the sides. Double the velvet in two, length- 
wise. Take one for the upper and the other for the lower 
side of the brim. Allow enough for a seam at the headsize, 
and piit the designs equally distant from where this seam will 
come, to the brim edge. Space the eight designs, sew them, 
put them on the brim, and the fulled velvet between the de- 
signs, and around them must be caught with the smallest of 



96 



A COMPLETE COURSE IN MILLINERY 

stitches from the under side, to make the velvet He in graceful 
contour. It is easier to determine this by sticking pins v^here 
later the stitches will be taken. Gather the velvet at the head- 
size, on the upper and lower side and stitch it in place. 

A round or oblong crown is covered with a single piece 
of velvet, the dimensions of which are determined by measur- 
ing the crown from front to back, and from side to side, and 
adding one-quarter to this measure. 

One design is made exactly in the center of the top 
crown. Six are grouped around this one, so their outer rim 
is as far away as the diameter of the design. If the crown 
is very large, six more may be added, the same distance below 
the first row, as it was from the central design. The figures 
of the second row should alternate with those of the first row. 

The making of such a hat necessitates the use of a fin- 
ishing or milliner's fold at the base of the crown. This is one 
of the most beautiful and artistic effects known to millinery. 
The chrysanthemum design can be made of any size. A 
crown top may be completely covered with one design. In 
such a case, do not forget that the center must be drawn up so 
much more by the gathering, in order to have any fulness on 
the outer edge. If the crown top is oblong, add a few curved 
lines at the front and back, coming into the circle, at their 
beginning and ending. 

Chrysanthemums no larger than a half dollar, may cover 
a crown top, making one in the center, and grouping six about 
it to conform to the shape of the crown top. This can be 
used with a plain side crown, which would be a separate piece. 
These designs can be sewed on crinoline, and used in soft 
crown tops, but they are not so effective as when sewed to 
firm buckram. 

Beside the chrysanthemum pattern we have the crossbar 
and double crossbar, shown in Figure 3 and Figure 4. The 

97 



A COMPLETE COURSE IN MILLINERY 

lines in the diagrams simply denote how the seams should be 
placed and can be laid off on the velvet, by a white thread, 
in long stitches on the right side. The seam itself is a double 
in the velvet, made on the line of the white thread on the right 
side. Begin on the edge of the double, slope gently downward 
until the seam is one-eighth of an inch wide. Sew it at that 
width until near its termination, where it is sloped upward 
to the edge of the double again. 

Be careful in making the seams across each other, that 
you do not sew through the gathering threads, or they could 
not be drawn up. After the design is all seamed, draw the 
seams up, just enough to ruffle the velvet slightly and suffi- 
cient to make the designs stand out clearly, then thread the 
loose ends of the seams, and run the needle through to the 
wrong side, and fasten securely. The fulled velvet, about 
the designs, should be disposed of, as in the first pattern. 
These designs can be made large or small, as desired. 

The last pattern shows the spider web in Figure 5. To 
make it, you first determine where you want the center of the 
web. Place a pin at this point, double the velvet in a straight 
line, so that the center pin will be as nearly in the middle of 
the double as possible. 

Determine how large you want the web, and place two 
pins equally distant, from the center pin, one on each side, 
and both along the double. This will give the diameter of 
the web. Place four pins, two on each side of the double, so 
that they shall be equally distant from each other, and the 
two pins placed along the double, with the center pin. They 
must also be the same distance from the center pin as those 
on the double. These six straight lines, radiating from the 
center, to the six pins, should be marked with white thread, 
in long stitches on the right side. Mark off three slightly 
curved lines, between each two straight ones, as shown in the 
diagrams, and stitch them with the white thread also. 

98 



A COMPLETE COURSE IN MILLINERY 

Commence with a fine needle, and fine thread, the color 
of the velvet, and seam along the first double from A to B, be- 
ginning with the edge of the velvet, and getting wider, gradu- 
ally, until at the center the seam should be one-eighth of an 
inch wide, then decrease from the center to B and draw up the 
seam, so that it lightly waves the velvet. Fasten the end 
securely, even with the edge of the double. Sew the other 
four straight lines, separately, commencing at the outer edge 
and ending in one-eighth of an inch seam in the center. 

The curved crossing lines, between the six just sewed 
should be slightly gathered, each one separately, and the whole 
design pinned down to the foundation of the hat, and then 
stitched in place. The curved seams are then chain-stitched, 
in heavy embroidery silk, in a contrasting color to the velvet, 
or some tint or shade of the same color. The center of the 
web is finished in a jewel, or with beads, spangles, "jet or any- 
thing that taste may suggest. These webs may be made large 
enough to cover the top of a crown, and can be elongated in 
design to fit the crown of that shape. 

All of these designs must be sewed with short stitches, 
and exact work done in their embellishment and mounting. 



Hand-made appli- 
que motifs on an 
odd turban 




99 



■ A COMPLETE COURSE IN MILLINERY 

LESSON XVIII 

Five Different Crowns 

As Fashion comes and goes, there are five shapes of the 
crown, that appear periodically, as something startlingly new. 

The first is the Gainsborough proper; by that I mean 
the crown shown in the Gainsborough portraits. This crown 
is straight on the sides, circular in form, and flat on the top. 
It is always a high crown, but its proportions vary somewhat 
although the usual width of the side crown is three-quarters 
the diameter of the top. Thus, if the crown top has a diam- 
eter of 8 inches, the height of the side crown would be three- 
lourths of 8 inches, which equals 6 inches. 

The true Gainsborough hat is not supposed to come 
down on the head, as is often the style for years together, 
but it is perched jauntily on the side of the head, the wide 
straight brim given sweeping and graceful curves, and the 
whole structure loaded with plumes, irtistically placed in flow- 
ing line.«. 

The top crown is cut in circular form of any required 
tometer, in the same manner as the Gainsborough brim. It 
«s wired around its circumference, even with the edge. The 
wiring is done on the rough side d the buckram, leaving the 
smooth side for contact with the velvet, or any fabric cover- 
ing. The side crown is cut in a continuous straight strip, of 
equal width, and is closed by an overlap of two inches at the 
back. It must be fitted so it will exactly go around the crown 
top, and neither squeeze the top nor leave the slightest open- 
ing. Close the overlap of the side crown, with long stitches, 
wire the headsize, on the inside, even with the edge, then wire 
the upper edge just the width of the wire below the edge itself, 

100 



A COMPLETE COURSE IN MILLINERY 




The original Gainsborough Hat 

SO that when the crown top with its wire is put within the 
side crown the wire of the crown top will rest on the wire 
of the side crown, as upon a shelf. Next, stitch the crown top 
and side crown together, with long stitches driven through 
from the crown top to the side crown, going under both wires 
and holding them together. Repeated stitches of this kind 
make an overcast all about the crown. 

Curving the Crown Top 
Sometimes the slightest curve is desired in the crown 
top. This can be effected by cutting out a piece of sheet wad- 
ding the size of the crown top and pulling off a thin layer on 
the edge all around and placing the side that has been torn 
next to the crown top. This makes the least bit of fulness 
and takes away the severity of the straight lines. 

101 



A COMPLETE COURSE IN MILLINERY 

The velvet or fabric is placed with the bias to the front 
of the crown top, and stretched and pinned on like the Gains- 
borough brim;, extending down on the side crown for one- 
third of an inch. After it is pinned perfectly smooth it is 
stitched around on the side crown far enough from the edge 
of the velvet so that it will not ravel, and yet not so near the 
top that the stitching will show, when the side crown velvet i:'. 
put on. Make the stitch one-third of an inch long on the right 
side and very short on the wrong side. See that the stitch on 
the right side holds down the goods without any puckers or 
they will later show in a bunch through the fabric of the side 
crown. 

Cut a bias strip of velvet wide enough to cover the side 
crown, turn in j/^ inch on either edge. You must also allow 
for the stretching of the velvet, which lessens its width. After 
one edge of the velvet is cut on the bias it can be stretched 
and pinned about the side crown, to get some idea of the de- 
sired width before the other bias edge is cut from the piece 
of goods. 

Turn in half inch at the top edge of the bias piece; com- 
mence in the back of the side crown, pin it down, and stretch 
it about the crown top and exactly even with it. There are 
two methods of closing it in the back of the side crown. If 
the velvet is sufficiently wide, cut off the ends square, and turn 
them in one-half inch on either end. Turn down the ^ inch 
coming around the crown top, that is immediately in the back, 
after the ends are turned in, so that the lap-under on the ends 
will not show at the crown top after the side crown is closed 
at the back. This closing is done with blind stitching, com- 
mencing at the top of the same, piercing the needle through 
the buckram and back, so that the stitching may never slip 
down. The bottom of the side crown is finished by turning 

102 



A CO MP LUTE COURSE L\ MILLINERY 

under the velvet into the headsize of the crown and stitching 
it with a fine needle and thread, barely above the bottom wire, 
making the long stitch on the inside of the crown and the 
small one on the outside. The stitches should be one-half inch 
long on the inside and the smallest that will hold the fabric 
on the right side. This finishes the true Gainsborough crown. 

The Puritan Crown 

The second form of crown is the Puritan, and is very like 
the Gainsborough, only the side crown is sloping slightly, 
hence making a smaller crown top. This is sometimes called 
the ''sugar loaf" crown, as it has the exact shape of the cone, in 
which that commodity used to be sold, except that the top is 
cut squarely off. 

Any picture of the Pilgrims will give a vivid idea of this 
peculiar headpiece, and as instructions have been given for 
cutting a sloping side crown, the Puritan shape can be easily 
reproduced by slashing the side crown of the Gainsborough 
from its upper edge nearly to the headsize and overlapping. 
After getting the proper slope it can be cut from buckram in 
one continuous piece, and a flat top can be fitted into its upper 
opening. 

The Puritan crown is sometimes made with a flat oval 
top, and is used with all shapes of brims. 

The third of these crowns is the beretta, which was pri- 
marily taken from the priest's cap of that name. It is usu- 
ally cut in four pieces and put together w^ith a heavy cord in 
the seams. The top is nearly flat, and can be brought back 
to the headsize with gathers or after the top is of sufficient 
size the four pieces can be sloped in so they will exactly fit 
the headsize, where they are sewed into a narrow band about 
the head. The true beretta is not very large on the top, but in 

103 



A COMPLETE COURSE IN MILLINERY 

its modifications for millinery it is corded or not, and is some- 
times cut plain and round, and either gathered or plaited into 
the headsize. We have the artist's beretta made this way, 
and slightly pulled to one side. This crown can be made with 
the head band, making a complete hat that way, or it can be 
used on a brim of any size or form. 

The fourth shape is the Tam o' Shanter, which is ordi- 
narily cut in two round disks, in one of which is cut out the 
headsize. The two are put together with a heavy covered 
cord between the edges, or it can be made of one larger round 
piece, turned under on itself and plaited or gathered into the 
headsize, when there is no difference between it and the be- 
retta but a name. 

The mortar board is the fifth form of crown. This, in 
its most severe form, used by scholars, is a square piece of 
pasteboard, covered with cloth on both sides, and a long droop- 
ing tassel, on one side of the point, which is directly in front 
and seems disposed to cloud the vision of one eye. This board 
is attached to a round close-fitting skull cap at its top. The 
fastening is sufficiently strong, so the four points cannot vary 
in position. 

For the millinery trade this crown is varied, so that a 
square piece of buckram the required size of the board may 
have a round center cut out of it so that the narrowest parts 
of the buckram will be only two inches wide. In many cases 
the four corners are reinforced with a triangular piece of 
buckram and a small wire, called lace wire, is sewed around 
the four sides of the outer edge. This braces it, but yet leaves 
it very pliable. 

The cloth stretched over this frame may be divided into 
four equal parts, starting in the center, and running to the 
four points. It may be corded in the seams, and instead of 

104 



A COMPLETE COURSE IN MILLINERY 

being rigidly flat it may be rounded slightly toward the center. 
The buckram will hold the corners firmly and a bias strip of 
the goods may be sewed around the edge of the board, with 
or without a cord, as desired. The bias piece can then be 
drawn up to fit a head band, leaving the bias piece wider oppo- 
site the points of the board, and gradually narrowing down 
in the spaces between, so that the bias piece will pull equally 
into the headsize. When this is worn the head will make it 
curved over the top, while the points stand out well defined. It 
can be used with or without a brim. 

By noting these different suggestions for crowns many 
and varied effects can be produced. 





Increasing the height of a shallow crown by trimming. 



105 



A COMPLETE COURSE IN MILLINERY 

LESSON XIX 
Draping Crowns and Velvet on Concave Surface 

Periodically the smooth velvet on the crowns is wrinkled 
into strange and mysterious shapes. Sometimes it is but little 
elevated above the buckram foundation, and at others it is 
given a prodigious height, at the back of the crown top, on 
either side or both, or in front. 

These humps and valleys must have some foundation for 
support, and they must be disposed in an artistic manner, or 
it will prove the step from the sublime to the ridiculous. In 
the illustration we see exemplified various ways of supporting 
the folds. 

When fashion justifies the elevation of the back of the 
crown top, and also dictates that it should extend slightly 
backward from its base, the wire support portrayed will hold 
it firmly in place. It is necessary to first line the crown with a 
strip of buckram 3 inches wide, extending from the headsize 
in front to the headsize in the back. When the curve comes, 
at the commencement of the crown top, cut the buckram strip 
from each side, leaving only a small space in the center. Let 
the slit be in conformity to the curve, and when the buckram 
is pressed in place the slit pieces will overlap each other, so 
that this extra piece of buckram will lie snugly against the 
crown for its whole length. Stitch the bracing piece firmly to 
the crown and you have a firm foundation for the supports. 
These wire supports are made of one piece, and the wire is 
crossed at the base and spread out in two triangular flanges 
like duck's feet, forming a substantial foundation. 

The larger wire support can be made pointed as in the 

106 



A COMPLETE COURSE IN MILLINERY 



illustration, or it may be broad across the top and set parallel 
to the width of the crown top, coming down to the base, with 
the two wire sides of equal length. 



uc 


I 

/ 
/ 






. -»-*,^^, 





Building 
up the 
crown 
for 
Draping. 



A les.^er wire support can be placed midway of the crown 
top, and one connecting wire broiight from the back support 
over the middle one, and drawn down over the front of the 
crown, being even with the crown top, where it merges into the 
side crown. 

107 



A COMPLETE COURSE IN MILLINERY 

Other supports are made of buckram and wired on the 
upstanding edges. One-half inch, including the wire ends, is 
turned outward at the base to conform to the shape of the 
crown top, where it is desired to use it. 

If the supports are made as shown in the illustration the 
velvet can be taken where it is cut square across, and the bias 
corner can be turned in for 3 or 4 inches, and the two sides 
on the straight brought together like a cornucopia, and it can 
then be slipped over the wire standard at the back of the 
crown. This brings the bias down the middle of the draping 
on the crown top, and this main rib may be made in curves. 
The side supports will hold another fold of the fulness. These 
folds should be carefully arranged so that they converge at 
the front and hold them in place by pins, thrust straight in 
through the crown top. 

About the hardest thing in millinery is to give a perfectly 
flowing and careless effect, when the goods must be so secured 
that it will hold in place against wear and weather. 

After the draping is finished, and the pins placed, not 
always bringing the velvet in contact with the crown, take a 
long needle and fine cotton thread, the color of the velvet, and 
beginning on the under side of the crown top stitch through 
the velvet at the places pinned, being very careful not to pull 
the velvet down when returning the needle into the crown top. 
Many places the thread will have to be carried along parallel 
to the crown top in order to secure the folds exactly in place 
and not pull them down. Especially is this the case when com- 
ing to the main rib of the draping. The needle must go under 
the long connecting wire, but never make a draw in the vel- 
vet. The stitch on the right side at all times is the smallest 
possible and becomes invisible, as it sinks into the pile of the 
velvet. 

103 



A COMPLETE COURSE IN MILLINERY 

The side crown can be laid on smooth or in folds or with 
a shirred upstanding edge and various forms of shirring down 
the whole side. Anything that taste may suggest or the con- 
tour of the face justify can be used. If one possesses very 
little originality one may select some prettily draped crown 
and copy it. Such suggestions can always be found in a good 
millinery magazine. 

A smart and even way to drape a crown is to lay five 
plaits at the front of the crown top. Let each plait be one- 
half inch deep and lay them all in the same direction so that 
they barely come in contact with each other and do not over- 
lap. Drape the plaits so that they widen apart as they reach 
the middle of the crown top, and at that point secure them 
with pins stuck straight in between the plaits. At the back of 
the crown top make five similar plaits, only in the opposite 
direction. Pin them exactly in place, as the front ones are, 
remove the pins in the center of" the crown top, and you will 
find that the reversing of the plaits makes a fine fluted effect. 
The plaits must not be drawn too tight, and a few fine stitches 
will hold them in place. The side crown can be treated the 
same as in the case of the high draped crown top. 

There is no end to the variety of designs that can be pro- 
duced by the use of supports, wires, shirrings, folds and draped 
goods. 

Many shapes present a concave surface on the upper or 
lower brim. The velvet must be placed upon the concave sur- 
face, be it up or down, before the other side of the brim is 
covered. Let us take a tricorne, for instance. 

Place the bias point of the goods at the front point of 
the brim and on the upper side. Let the velvet at the front be 
sufficiently far from the bias point so that when the velvet is 
pressed down to conform to the shape it will still reach the 

109 



A COMPLETE COURSE IN MILLINERY 

brim edge at all points and allow one-half inch beyond it. 
This must be done very carefully. Next pin the velvet to the 
front point and with forefinger and thumb of each hand work 
the velvet down, stretching it on the bias, either lengthwise or 
crosswise as required to fit the form. Pin the brim edge and 
thrust pins straight through the velvet and buckram else- 
where. Only place a small portion of the velvet at a time. 
Then take a small needle and fine cotton thread, the color of 
the velvet, and starting on the wrong side stitch through to 
the right side and back again with as small a stitch as will hold 
the goods to the buckram. The stitch should be invisible 
when the velvet is brushed at the completion of the stitching. 
Stitch back and forth across the front point, making the 
stitches one-half inch apart and each row one-half inch dis- 
tance from the last. All the time keep fitting the velvet, and 
if any one place "blisters" so as not to touch the buckram and 
put in an extra stitch to hold it down. 

Work the velvet toward the back, and after it progresses 
enough on each side to begin to cover the headsize, cut out the 
headsize just that far and no farther. Nothing is more de- 
ceiving than the exact place of the headsize, and it can only 
be cut out safely little by little as the fitting proceeds. 

As the back is reached, the velvet in the headsize will 
stand up ir^ a ridge, getting higher toward the back. At last 
the velvet must be brought together at the back and cut in a 
straight gash from the headsize to the brim edge, allowing 
one-half inch on either side for a turn-in. 

The remaining part of the headsize is now cut away, the 
back turned inland blindstitched together, and the final fine 
stitching done to hold down the velvet in the back. 

Velvet can be fitted in this manner over almost any 

no 



A COMPLETE COURSE IN MILLINERY 

shape, widening or narrowing the velvet in the bias of the 
goods. 

Lastly, the velvet is taken over the brim edge and stitched 
down to the rough binding as in the Gainsborough brim. The 
velvet of the underbrim is pinned in place at the brim edge 
and can be fitted smoothly by pulling the bias of the goods. 
Baste it with fine needle and thread, about one and one-half 
inches from the brim edge. The velvet should now be trimmed 
away, leaving one-lialf inch projecting beyond the brim edge. 
This is turned in even with the brim edge and blindstitched to 
the upper brim. 

A dip in the crown top or a concave side crown can be 
covered in the same way as the brim, only in the crown top the 
fitting begins in the center. 

Hat manufacturers employ a colorless millinery adhesive 
for applying the velvet, securing it over a form or mold with 
great pressure. The old-fashioned glues often injured the pile 
of the velvet, and it could not be raised without loosening the" 
velvet from the frame. The new improved millinery adhes- 
ives are wonderful time savers in the milliner's workroom, but 
in spite of their perfection they are a perilous thing in the 
hands of the amateur, as one ''smutch" of the fluid on the fin 
gers or too much of it under the velvet is apt to produce a 
pressed down spot, that to try to correct is to make worse. 
Before attempting to use the adhesive, it is not only advisable 
but absolutely necessary to experiment, taking the more tedi- 
ous method of sewing the hat until one has become sufficiently 
conversant with the use of the adhesives. 



Ill 



A COMPLETE COURSE IN MILLINERY 

LESSON XX 

Transparent Hats 

The first of the transparent hats to be considered is the 
chiffon hat, that is, a hat made of chiffon folds. The initial 
step is therefore the cutting of the folds. Lay the chiffon 
out straight on a table, with the end of the piece towards you. 
Take this end and fold it along the selvage of the left hand 
side. This gives a true bias on the right hand side. See that 
it does not pull out longer than its natural width on the bias 
line. 

Take the bias on the right hand side and fold it back on 
the piece of chiffon until the bias comes even with the far- 
thest point, where the chiffon lies with double thickness. The 
chiffon is now in one fold of four thicknesses and the fold 
must be of uniform width, but its ends will be irregular. 
Again, take thq bias on the right hand and fold it to the left, 
until it is even with the first bias that was made. Repeat this 
process unil the fold is of the required width, which is usu- 
ally about 3 inches. Be sure that this folding is done exactly, 
so no part has stretched, or it will come out uneven when the 
folds are cut. 

Take a fine needle and fine thread and stitch down the 
middle of the folded piece of chiffon with stitches two inches 
long. Watch that the stitches do not misplace the folds. Now 
take the scissors and cut directly across the fold any width 
desired, and when it is unwound it will be a bias strip of 
equal width all its way, if the process has been properly man- 
aged. The selvage is always cut off and the strips are sewed 
together with a very small seam, which is pressed open with 
the fingers. Fine thread is used entirely in making a chiffon 

112 



A COMPLETE COURSE IN MILLINERY 

hat. After the seams are sewed, pull the whole piece across 
its zvidth and roll it up very lightly, when it is ready for use. 

Cutting Chiffon 

The theory of cutting chiffon can be exemplified with a 
piece of paper, which may be folded across its bias, and folded 
again and again according to directions. It can be basted 
down and cut across, and one can more readily see the process 
because the paper does not stretch, as the chiffon surely does. 
The chiffon hat is made on a wire frame, which is covered 
with a plain piece of chiffon. First on the underbrim, where 
it is pinned in place, and overcast around the brim edge, and 
headsize, extending over the brim edge wire for one-quarter 
of an inch. Then the upper brimi is covered in the same man- 
ner, making two thicknesses of the chiffon for a foundation 
for the folds. The first fold is put around the brim edge as 
a binding, extending equally on the upper brim and the lower. 
This is stitched to it^ place, with equal stitches on both sides, 
and as near the raw edge as it can without fraying out. 

The next fold is doubled its full length, and be very care- 
ful not to stretch it lengthwise. It is laid on the upper side 
so it will project over the brim edge about one-eighth of an 
inch. Stitch in place along the raw edge, with equal stitches 
on both sides, and one-quarter of an inch in length. The next 
fold is put on the under brim in the same manner as the one 
on the upper brim, and the stitching must come exactly in the 
same place as that of the upper brim. The next fold is put 
on the upper brim, so that its edge will nicely cover the sewing 
on the raw edge of the first double fold. The raw edge of this 
last fold is sewed on like the others, and the next fold is 
placed right under it on the underbrim, so the sewing of the 
two folds will come in the same place, and this process is 
continued to the headsize. (See illustration.) 

113 



A COMPLETE COURSE IN MILLINERY 

When a fold is begun the ends are turned in before it is 
folded, and when the fold terminates it is finished in the same 
manner, so the turned in ends come together in the back. A 
constant endeavor must be maintained to keep the raw edge 
of each fold froni stretching, in fact, it should be held the 
smallest bit full, to allow the doubled edge to curve around 
freely, to conform to the curve of the brim. 

If the under side of the brim is to be? covered with a 
shirred facing, only the upper folds needs to be put on, one 
after another. If the folds of the upper brim are narrow, 
they are sometimes made in a continuous strip, beginning a 
little to the right of the exact back, going completely around 
the brim edge to the place of beginning, where it should slope 
gradually upward toward the headsize to make the second 
round, and the extra thickness of the first fold, that will show 
under the beginning of the second, should be cut away. 

If the upper and lower brims are both covered with folds, 
the slight projections beyond the brim edge should be tie- 
stitched together about every two inches with very fine thread, 
so that those outer folds will not flap in the wind. Take a 
small stitch to the left, on the under fold, and through only 
one thickness. Exactly above it take a small stitch to the 
right in he upper fold, and tie them together, but not so tightly 
that it will draw. 

The crown is covered with two thicknesses of chififon, to 
correspond with the brim, but in this case both thicknesses are 
put on the outside of the wire form. The crown top is pmned 
in place and overcast. The side crown is fitted by a straight 
piece of chiflfon, doubled, if the side crown is straight. If 
the side crown slopes slightly the doubled chifYon can be drawn 
tightly around it from the front, where it should be pinned 
to the back, where it will end slightly on the bias and where 

114 



A COMPLETE COURSE IN MILLINERY 

it. will have to be overlapped and stitched down. Then stitch 
it in place where the crown top begins and overcast the head- 
size. 

If the side crown slopes more than can be taken smoothly 
up by pulling the chiffon toward the back, cut out a paper pat- 
tern to fit the side crown, and lay it on the doubled chiffon, 
so that the doubled edge of the chiffon will be at the top, and 
extending beyond it, where the upper edge is curved. Cut out 
the bottom, allowing an extra half inch to turn under at the 
headsize; cut the ends so they will overlap. 

Leave the doubled edge of the chiffon until the chiffon 
is pinned around the crown top, then the extra projection can 
be cut away. Close the overlap in the back, stitch around the 
crown top and overcast about the headsize. 

Applying Chiffon Folds 

The folds are put on the crown the same as on the upper 
brim, beginning at the headsize in the back, and ending with 
the gathering of the fold into a round rosette for a finish at 
the very tip of the crown, or again, if the fold is sufficiently 
narrow, the crown can be covered in one continuous piece, 
going round and round the crown, and finishing with the 
rosette. 

Beautiful effects can be produced by varying the chiffon 
folds with transparent braids. A fine or fancy straw hat is 
sometimes given an underbrim lining of chiffon folds. In 
such a case a crinoline lining is cut exactly to fit. This is 
covered with plain chiffon and the edge bound with a chiffon 
fold, and then the succeeding folds laid on one after another 
as before described until the headsize is reached. The en- 
tire lining is then pinned on the underbrim and stitched to 
place on its edge with the stilting stitch. When stitched at 
the headsize the lining is complete. 

115 



A COMPLETE COURSE IN MILLINERY 



Maline hats are made in the same way as the chiffon, only 
the folds of maline are made of straight strips turned in from 
both edges of the length until they meet. Then the outer 



The 

various 

stages of 

covering 

hat brim 

with 

folds. 




edges are folded together, and a fine basting run along the mid- 
dle of the fold, when it is ready for use. This folding gives 
four thicknesses of maline. Frequently a gathering thread is 
required on the upper edge, where the sides come together. 
Maline folds can be used with braids also, or with bands of 
fancy straw leaves, as shown in fancy braid sewing. 

Lace hats can be made on wire frames, covered smoothly 
with chiffon or maline. If the lace is narrow, it can be slight- 
ly fulled by pulling up the draw string on its upper edge and 



116 



A COMPLETE COURSE IN MILLINERY 

sew it from the brim edge to the headsize, each round slightly 
overlapping the last enough to hide the sewing. The lace 
should project a little over the brim edge, and it is preferable 
to only put the lace on the upper brim and finish the under- 
brim with a shirred lining of chiffon, maline or net. A crown 
can also be made of the lace. 

In metallic laces it is often desirable to have no frame 
covering under the lace. The; frame should match the lace 
in color, that is, if the lace should be silver, the frame should 
be made of silver wire, and if the lace should be of gold, the 
frame should be made of gilded wire. When these wires can 
not be obtained, a common white wire frame can be treated 
to a liquid wash that will produce a silver or gold effect and 
can be bought at any drug store. If some certain color is 
wanted, a white wire frame can be changed to any shade or 
tint by mixing tube paint and gasoline and painting it, or, 
better still, dipping it in the dye. The lace, too, can be col- 
ored, but it must be immersed, all at one time, and the paint 
and gasoline must be thoroughly mixed and poured off into 
a second vessel, so there will be no sediment to produce spots. 
It takes very little of the tube paint and considerable of the 
gasoline, and it must never be used near a fire. 

If the metallic lace Is wide enough to reach from the 
headsize to the brim edge, gather it into the headsize with 
sufficient fulness so that it will lie smoothly at the brim edge. 
Stitch it to the headsize wire, and again at the brim edge, 
letting any scallops project beyond the edge wire. If the me- 
tallic lace is not wide enough to cover the whole brim, see that 
a wire is so placed that it will meet the gathering string after 
the brim edge is pinned in place. If it only takes two widths 
of the lace to reach the headsize they can be overlapped at 
this middle wire, but if the lace has to be pieced out toward 

117 



A COMPLETE COURSE IN MILLINERY 

the headsize after the brim edge is secured and the gathering 
of the first row of the lace has been fastened to the wire 
between the brim edge and the headsize, the wire can be cov- 
ered with a narrow finishing fold of velvet or satin. 

The crown top may be covered with straight pieces of 
the lace, running from front to back, with the two plain edges 
of the lace coming together across the middle of the crown 
top. These plain edges can be covered with a narrow finish- 
ing fold of silk or satin also. 

The side crown may be made with the scalloped edge of 
the lace standing up around the crown top and finished at the 
headsize with a finishing fold. If it should require two widths 
of the lace for the side crown they can be managed in the same 
manner as in the brim. 

A shirred net hat can be sewed directly on the wire frame. 
The strips may be cut crosswise, bias, or along the length of 
the net. In the last case we get the smallest amount of seams. 
The strip for the brim should be three times as long as the 
brim edge and as wide as the brim, and any projection beyond 
the brim edge, multiplied by two, for the net has to go both 
on the upper and lower brim. Then allow two inches extra 
for the turn in at the headsize, one inch for the upper brim 
and one inch for the lower brim. 

Suppose it is desirable to have the net extend in a frill 
for one inch beyond the edge wire, and that the brim is five 
inches wide ; then we will cut a strip fourteen inches wide, 
two inches for the extensio?i beyond the edge wire, ten inches 
to cover the brim proper, and two inches to turn in at the 
headsize. Double the strip of net lengthwise and run a gath- 
ering thread arotmd it one inch from the doubled edge and 
open out the two thicknesses, and put the net around the 
brim, one thickness above and one below the wires, and the 
frill extending one inch beyond the edge wire. Divide the 

118 



4 COMPLETE COURSE IN MILLINERY 

fulness into four equal parts, pinning the net in front, at the 
back and; at the two sides, and dispose the gathers equally. 
Draw up the thread and fasten it. Now pin the two thick- 
nesses of net together, just within the brim edge wire. Run 
a stitching in the net and through both thicknesses, close to 
the brim edge wire, and after the complete circle is made draw 
up the thread and miake it fast. This encases the brim edge 
wire in the net, and each wire may be similarly treated by 
running a gathering thread on both sides of it. This process 
is shown in the illustration. 

At the headsize, gather the net on the top and under brim 
separately, and stitch them together afterward. The crown 
is covered with a strip as long as three times the distance 
around the headsize, and as wide as the measure from the 
crown tip to the headsize, plus one inch for a turn in. Sew 
the strip together in a small felled seam, and turn in one-quar- 
ter of an inch on one edge, and gather it very tight, as near the 
doubled edge as possible. Sew it to the centre of the crown 
top with the seam of the net in the back. 

Put a gathering thread where the crown top begins and 
another at the headsize. If any more gatherings are desired, 
let them come directly over the extra wires on the crown top 
and the side crown. Dispose the fulness evenly and baste the 
net to the wires with small stitches on the right side, and 
stitches one-half inch long on the wrong side, but make the 
thread encircle the wire by taking one little stitch above the 
wire and the next belozu it, so that the shirring will stay in 
place. 

With laces, malines, chiffons and transparent straws of 
all varieties of quality and colors, wondrous designs can be 
produced that delight the artistic eye. 



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A COMPLETE COURSE IN MILLINERY 



LESSON XXI 

Transparent Brims and Brim Extensions 

Transparent brims and brim extensions come in style 
periodically as the wheel of Fashion turns on its round. The 
transparent sprung brim is generally made of maline or chif- 
fon. If the uncovered wire is used for the brim edge, it can 
be cut to any sized circle desired and the ends fastened with 
a metal clamp, which can be purchased with the wire. Use 
the pliers in pressing down the clamp, after the wire ends are 
inserted, and then cut a wire headsize. It is best to cut the 
maline on the straight. Take the piece of maline, fold it over 
on its length to twice the width desired for the brim (measur- 
ing from the headsize to the brim edge) and cut it off long 
enough to go around the edge wire, very tight, and lap over 
an inch. 

Put the middle of this strip around the edge wire, pulling 
it firmly into place, and where it laps over stick in a pin, near 
the brim edge, to hold the ends together. 

Be careful that the maline does not slip on the edge wire. 
Now draw the fulness of the maline to the headsize, keeping 
each layer of the four thicknesses equally taut. Run a strong 
thread through the maline, as near the headsize as possible. 
Let the stitches be small, to avoid wrinkles. Draw the thread 
up and the nmline will straighten out flat. Fasten the thread 
so its circle will be complete, and the maline smooth and 
firm. If maline seems refractory and too stiff to lay smoothly 
about the headsize, the least touch of steam at that point will 
elongate the holes of the mesh and make it spread out flat. Be 
very careful not to use too much moisture, and be sure it only 
touches about the headsize. Cut away the superfluous maline 

120 



A COMPLETE COURSE IK MILLINERY 

in the lap-over, from the headsize to the brim edge, so that 
there will be only one inch lap-over left, and do not attempt 
to turn it in, for it will never show if the edge is left raw, and 
it would show by the extra thickness if it were turned in. 

Place the headsize wire on the upper side of the brim, and 
overcast it to the maline, using small stitches, and keeping the 
fulness of the maline as smooth as possible. Turn the extra 




A smart hat, always in style, and 
especially desirable for evening or 
restaurant wear. The interesting 
feature is the irregular brim of 
some sheer fabric shirred to wire. 
The trimming of fine strands of 
plumage may be replaced by flow- 
ers or any preferred garniture 



maline up into the headsize and the brim is now ready for 
the crown. 

If the uncovered wire is used for the brim edge it is usu- 
ally finished with a round binding (see Lesson on Bindings) 
of silk, satin or velvet. If the binding is not to be used, the 
wire of the brim edge should correspond in color with the 
maline. If a white covered wire is used and tied with covered 
tie wire, the whole can be colored any tint or shade, with tube 
paint and gasoline. 

A transparent brim extension is usually put on a wire 
frame before the braid or cloth covering is arranged. Sup- 
pose the brim is composed of three wires, namely, the brim 
edge, the headsize, and the wire between these two. Make the 
circle for the transparent extension to lay outside of the three 
wires, and as far beyond the brim edge as desired. 



121 



A COMPLETE COURSE IN MILLINERY 

Fold and cut the maline to go around the extension the 
same as in the transparent brim, making the strip wide enough 
to go over the extension wire and to reach up on both the 
outer and under sides to the middle wire of the frame proper. 
Gather the maline at the middle wire of brim and overcast 
it to that wire and also to the edge wire of the frame. All 
four thicknesses of the maline may be placed on top of the 
wire brim, or the brim may be slipped in between these thick- 
nesses, leaving two above and two below. In this case the 
maline is gathered twice, once above the second wire of the 
brim and again below it. 

After the extension is adjusted very tight and smooth, 
the braid, crepe or silk for the wire brim proper can be sewed 
on. 

Transparent brims and brim extensions can be made of 
net, maline, chiffon or lace. Sometimes a transparent brim 
edge is made of a wavy hair braid, prettily scalloped, or a 
lace edge may hang straight down. 

If a transparent extension is desired on a pressed straw, 
there are ordinarily a few rounds of milan forming a brim 
revers on the upper side of the brim, which can readily be 
ripped off, the transparent gathering sewed down, and the 
milan circle replaced to hide it. 

Some milliners use four wires, fastened on the headsize 
and extending to the brim edge for additional supports for 
a transparent brim. In such a case, two thicknesses of the 
maline go above the wires and two below them, and two gath- 
ering threads are required at the headsize. 

The brim extension is made in a different manneri by ex- 
tending four of the eight wires, fastened on the headsize of 
the wire brim, until they are clamped down on the edge of the 

122 



A COMPLETE COURSE IN MILLINERY 

extension. This gives four wire supports to the outer circle, 
but detracts from its beauty somewhat. 

Various and effective are the many conceits made from 
transparent and diaphanous materials, and for grace and 
beauty they have no equal. 




A Famous 

Millinery 

Classic 

The Lady 
with the MufF 

by 

Mme. Vige'e 
Lebrun 



123 



A COMPLETE COURSE IN MILLINERY 

LESSON. XXII 
Bows and Other Fancies 
The Single Alsatian Bow 

The Alsatian bow, see Fig. 1, is the foundation bow of 
all bows. This basic factor, with its myriad variations, has 
filled the world with the art productions in that line. 

Take one yard of 4-inch ribbon and fishtail both ends. 
This is done by folding the ribbon in the middle lengthwise, at 
the ends only, making the selvages come together. Next bend 
the middle of the end out to the selvage so that the upper edge 
of the end will be parallel and just even with the selvage. 
Cut across the diagonal double and it gives the notched efifect 
called fishtailing. If the diagonal cut is slightly curved out- 
ward it will relieve the eye of the severity of the straight line 
and give a better efifect. If the ribbon is the same on both 
sides an Alsatian bow is always constructed like the letter 
*'Z." It is divided into three parts, one end is laid on the 
table, then the ribbon is folded back upon the first layer, and 
the last third is folded back over the second layer. It is then 
adjusted so that the fold of the ribbon at the ends will come 
half across the fishtail, and when this is done the whole three 
thicknesses are doubled over and creased all together, right 
across the middle of their length. This will mark the three 
places for plaits. 

Unfold the ribbon and take the marked line for plaiting 
nearest to the fishtail of one end. Hold the ribbon firmly in 
the left hand at this place with the thumb on the upper side 
of the ribbon and the fingers on the under side. With the 
thumb of the right hand make a small plait and push it be- 
tween the thumb and fingers of the left hand. After the plait 

124 



A COMPLETE COURSE IN MILLINERY 

ribbon is different on the two sides, the folds, after plaiting, 
are arranged a little differently, as shown in the illustration 
No. 3, so as to keep one side uppermost all the while. 

The center of the bow is plaited very fine, and sewed 
down at the back, on the middle of the bow. Bring the rib- 
bon over on the right side and reverse the plaiting, where it 
will go under again on to the back of the bow. As each plait 
is made, run the middle finger of the right hand up from 
underneath, making the fluted effect for the bow center shown 
in Fig. 2. 

Fasten this end underneath, tie stitch the loop and end 
on either side of the center, so they will hold in proper place 
and the bow is done. All tie stitching in bows is done at 
half the length of the loops. If it is placed too near the end 
of the loop, it gives a stiff expression to the whole bow. 

Two of these single Alsatian bows, without the center 
pieces, are used to construct the double Alsatian bow. They 
are laid side by side, and one edge of the plaiting in the middle 
of each is sewed to the other, so that the center will lie flat. 
Then a center piece is put on, as in the single Alsatian bow, 
and the loops and ends are arranged and tie stitched, so they 
will alternate. This completes the bow, which is in itself 
enough trimming for any large sun hat. 

These Alsatian bows can be made of any width ribbon, 
so that the same proportions are observed and they may be 
used for hats, dresses or the hair. 

One more Alsatian bow should be mentioned, that is, 
the standing Alsatian. This, together with the single, double 
and fancy Alsatian, gives a fair idea of these bows ; and they 
form models, whose variations are numerous and delightful. 

The standing Alsatian is made of a single Alsatian bow, 
with a loop made of 10 inches of ribbon, and an end seven and 

125 



A COMPLETE COURSE IN MILLINERY 




The Alsatian Bow From Start to Finish 
126 



A COMPLETE COURSE IN MILLINERY 

one-half inches long, directly behind it. The loop and the end 
is laid pull it into place with the right thiur.b on the upper side 
of the ribbon, and the forefinger on the under side, with only 
one thickness of silk between them. Then give a gentle but 
firm stroke parallel to the selvage and away from the plait, 
and the ribbon will fall into beautiful folds, displaying the 
lights and shadows of the silk to perfection. Continue these 
plaits, all folded in the same direction, until the selvage is 
reached. Sew down the plaits with millinery thread so that 
they will retain their exact place, and if the plaiting takes too 
wide a space throw the thread around it and cinch it up, 
keeping the sewing flat the while, never let it cinch up into a 
roll. 

Next plait the marked place in the center of the ribbon. 
Here the plaits must be reversed. For if they were made in 
the same dirction as the first line of plaiting and the two were 
brought together to make a loop of the ribbon, one side of the 
selvage would stand wide open and the other would be en- 
tirely closed. But if the plaiting is reversed at the second 
marking the loop will be open equally on both selvages. To 
make the second plaiting, it is easier for most persons to turn 
the ribbon around and repeat the process of plaiting exactly 
the same as it was in the first place. A few persons can go 
straight down a piece of ribbon plaiting to the right or left in- 
discriminately. The same side of the ribbon must always be 
kept uppermost. It is the effect we want, and do not care 
for the method. The third plaiting is reversed from the 
second. 

When it comes to putting the bow together, fold it ex- 
actly as you did when laying oflf the places for plaits. The 
plaits will all come together in one place, with a loop and an 
end on either side. Sew the plaits together, one on top of 
another, and arrange the bow so that the ends will be diagon- 

127 



A COMPLETE COURSE IN MILLINERY 

ally across from each other, and the loops the same. If the 
are fastened at the center of the single Alsatian, so they will 
stand straight up from the bow. The end is sloped from its 




A variety of Fancy Trimmings. See Text 
128 



A COMPLETE COURSE IN MILLINERY 

tip, at one selvage, to the other selvage at the height of the 
top of the loop. Three centers are used in the same manner 
as described in making the center of the triple bow, one about 
the standing part, and one about each plaiting of the single 
Alsatian bow. These centers are made like all others, only 
one end is plaited diagonally across thel ribbon, making one 
edge longer than the other. All these longer edges go to the 
center, where they are caught together with a single stitch and 
the needle thrust through to the wrong side and thread se- 
cured. This completes the standing Alsatian, and it is very 
useful for trimming the front of a large hat. • 

The Maltese Bow 

Make two single Alsatian bows of ribbon from two to 
three inches wide. Lay the bows across each other, at right 
angles, and fasten them in the center. This makes a Maltese 
cross in itself. Put the usual plaited piece across the center 
diagonally, and another like it, at right angles to the first, 
making another Maltese cross of the centerpieces. This com- 
pletes a very pretty bow. Maltese bows are usually used in 
pairs to trim a hat. One on the left front, and the other at the 
right back. They should rest against the side crown, with 
the ends slighly touching the brim. If one of the ribbons com- 
prising the center is parallel with the side crown, the posi- 
tion of the bow is correct. These bows may be of ribbon or 
ribbon velvet, and a hat would need no other trimming when 
it has a pair of Maltese bows. 

The Shell Edge 

The shell edge, shown in Fig. 1, is made of No. 5 ribbon, 
and gathered with thread to match the ribbon in color. Never 
use silk or mercerized thread for gathering as they both fray 
and slip. Use hard twisted cotton No. 50. 

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A COMPLETE COURSE IN MILLINERY 

Get the diagonal across the ribbon by folding the selvage 
across its width, as shown in Figure 2. Secure the end of the 
thread firmly and use a running stitch (see lesson on stitches) 
which must be small and even. When you get across the 
diagonal, point the needle so it will go under the selvage, and 
when beginning the next diagonal, commence above the sel- 
vage, in order that the thread will go around the selvage each 
time. Otherwise the selvage would flare out, and destroy the 
unity of the shells. Continue the sewing back and forth 
diagonally, draw up the thread gently, arrange the shells by 
forcing the point of a finger under each of them ; then see 
that they are regularly distanced, and not too close together. 

Take six shells, all on one side, catch the selvage exactly 
in the middle of the shells, and from underneath, and draw 
them together, and fasten them, making the center of the flat 
rosette shown in Figure 3. The six shells on the outer edge 
should be evenly disposed, and where they overlap, they are 
fastened. The rosette may be made independently of the 
edge, or it may be but a continuation of it. 

This shell edge is one of the most useful ornamentations 
found in millinery. It is pretty around a crown base, over a 
crown top, about a brim edge, either on the upper or lower 
side, and makes a fine heading for folds of chiffon, crepe, or 
maline. It is useful for ornamenting baby caps, and is one 
of the most effective trimmings for a dinner waist, around a 
full-dress neck, or on sleeves, where it terminates in the flat 
rosette. It finishes the front seams of an evening skirt, and 
the flat rosette makes an artistic end near the hem. The 
uses of this simple device are legion, and all are pleasing and 
beautiful. 

The Shell Shirring 

The shell shirring shown in Figure 6 is made of thin piece 
silk. The top is folded over to the width desired for the 

130 



A COMPLETE COURSE IN MILLINERY 

shells, and a thread run along this line to mark it. It is man- 
aged exactly as the ribbon in the shell edge. Diagonal mark- 
ings are laid off between the upper edge and the marking 
thread, and these are followed in cotton thread, with the run- 
ning stitch. Go over the upper edge in the same manner, as 
the selvage was crossed in the shell edge. 

The second line of shirring is made by basting a tuck of 
the same width as the first row of the shirring. The tuck 
is then laid off diagonally, and sewed exactly as the first row 
of shirring. When the threads are drawn up, and the shells 
pulled into place, by inserting the finger under each one, and 
the whole is basted to a firm foundation it gives one of the 
most lovely effects that can be imagined. 

The shell shirring is of especial use, in covering a hat 
brim, on either or both sides, or it can be laid on a side crown, 
or across the crown top. It is also beautiful on an evening 
waist, on vest! and sleeves. 

The Flat Reed Shirring 

The flat reed shirring is made of a straight piece of silk, 
folded back on itself to the width of the shirring desired. In 
the sample, Figure 4, there are two groups of shirring, so the 
silk must be folded back far enough to cover both. Leave a 
margin of the silk at the top, the width of the little ruffle that 
is wanted for a heading, and run a gathering thread through 
both thicknesses of the silk to define this width. Do not 
draw up this thread, but run another under it, and one-quarter 
of an inch distant from the first. Continue this process until 
the desired numbers are made. These threads should be se- 
curely fastened where they begin, and should all begin from 
one side. Take a cord, cotton soutache, or common wrapping 
string, so it is large enough, and run it through a darning 
needle. Tie a knot in the end, and turn the needle, eye first, 

131 



A COMPLETE COURSE IN MILLINERY 

and put the cord through the casings made by the stitchmg 
in the silk. Keep the silk smooth all the time, never allow 
it to pucker. Cut off the cord, leaving an inch projection be- 
yond the silk. Run all the casings in this manner. Leave 
a space of the silk, and run the second group of shirring. This 
is done exactly like the first only there are but two or three 
casings in the last group. Put in the cord, and then stitch 
down all the knots in the cord, so it will not pull through the 
casings. Pull up the cords, arranging the fulness evenly. 
Next pull the threads carefully, one by one. 

The picture shows a small portion near the thread ends, 
where the silk is not drawn up, so that the construction may 
be fully understood. 

The Round Reed Shirring 

The round reed shirring is made by folding over the 
silk at the top, sufficiently to run a thread, and make the de- 
sired ruifle at the top. After that, the silk is used in a single 
thickness, and made into tucks. Use three-eighths of an inch 
of the silk, for each tuck, and space them one-quarter of an 
inch apart. Make five or any number w^anted, leave a space 
of the silk, and run two or three more tucks. These tucks 
are run with cord, exactly as in the fiat reed shirring, then 
they are fastened, pulled up, and arranged in the same way. 
The round reed shirring is showp in Figure 5. 

These two shirrings are called reed shirrings because in 
the past they were run with reeds, instead of cords. These 
reeds were something like rattan. 

Reed shirrings will do nicely for hat brims or underfac- 
ings, or can be used on evening dresses or waists. 

There is a rule for shirrings which is tabulated as fol- 
lows : Measure the length to be covered with the shirring, and, 
of velvet it takes one and one-quarter times that length; of 

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A COMPLETE COURSE IN MILLINERY 

slik it takes one and one-half times that length; of chiffon it 
takes twice that length; of maline it takes three times that 
length. 

In, the case of making these reed shirrings a very thin 
quality of silk was used, and it took of the silk, one and 
three-quarter times the distance to be covered. 

The Dimpled Rosette 

This rosette takes one yard of two-inch ribbon. Cut off 
twenty inches, space it off into five parts of four inches each, 
and leave it in one continuous piece. Begin at one end, and 
plait it, reverse the plaiting at four inches distant, and keep 
on reversing the plaiting every four inches until the twenty 
inches are consumed. Turn the ribbon on the wrong side, 
take the second plaiting, and bring it up to the first, and fas- 
ten them together, making a loop. Then comes the third 
plaiting, which is fastened to the second, and so on to the end 
of the twenty inches. This givesi five loops of four inches 
each. Take the center loop and bend the top inward, at each 
selvage, until the selvages meet. Secure them togther with 
a tie stitch. 

Tie-stitch each side of the loop, just where the selvage 
comes up from the bottom of the loop, and begins to turn in 
toward the center. TreatJ the center loop, and the ones on 
each side of it, in the same way. 

This is putting in the dimples. 

The remaining sixteen inches of ribbon cut in two pieces. 
Lay each of these p?.eces off into two loops of four inches each. 
Form the loops in the same manner, as the longer piece, and 
spread them apart, like the ribs of a fan and fasten them on 
either side of the central loops, so as to make a complete cir- 
cle of the six flat loops, as shown in Figure 7. 

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A COMPLETE COURSE IN MILLINERY 
Conventional Lily Bud 

The conventional lily bud is used when net and jet need 
a color motive, which in this case would be the silk under the 
net. For instance, the bud might be a rich red or orange, and 
veiled with the black net, and ornamented with the jet circles 
and stem, it would make a distinguished and striking note on 
a black hat. The lily is shown in Figure 8 and its pattern is 
g^iven in Figures 9 and 10. 

Endless are the combinations of colors, and the variety 
of ornaments that can be employed to produce chic and novel 
effects in millinery. 




Checker board Weaving 
in Ribbon — a perennial favorite 



134 



A COMPLETE COURSE IN MILLINERY 

LESSON XXIII 
Shirrings, Rosette and Buckles 

(See page 138) 

Buckles can be made in any shape — round, square, oblong, 
oval, or any fancy form. Cut out a pattern the exact size 
and shape desired, pin it on buckram, and cut the^ buckram 
to the pattern. Wire the outer and inner edges of the buck- 
ram with lace wire, placing the wire even with the edges, on 
the rough side of the buckram. If the buckle is to be made of 
velvet, baste the smooth side of the buckram to the wrong side 
of the velvet, so that the velvet will project one-quarter of an 
inch beyond the buckram, around the inner and outer edges. 
If the form of the buckle will permit, the velvet should be on 
the bias. 

Take the fancy shape shown in Figure 1. First turn down 
the velvet over one of the blunt outer points, then fold it in 
from each side of the point, and stitch the velvet through 
these three turnovers or flaps. The velvet projecting on the 
inner edge must be slit at the corners and turned up on to the 
buckram. Do not cut the corners too far up, or they will 
leave a raw edge through which the buckram foundation will 
most likely sh.ow\ Now stitch back and forth as shown in 
the illustration, and when the bias velvet must be caught from 
the inner edge be sure and let the needle catch far enough 
from the raveled edges so that the thread cannot by any chance 
pull out. Each projecting corner is treated like the first, and 
the long sides of the buckle are laced together as shown in 
Figure 1, along with the buckram, wiring and projecting 
velvet. 

Figure 2 shows the completed buckle, ornamented with 

135 



A COMPLETE COURSE IN MILLINERY 

soutache braid and jet. A wire can be sewed on the under 
side, across the opening of the buckle, either lengthwise or 
cross-wise, and ribbon may be placed over the wire projecting 
on either side of the buckle. 

A buckle can be used to advantage in various places in 
hat trim,niing or on belts, coats and dresses. Buckles can be 
made of straw, silk, satin, velvet, chiffon folds, lace or small 
flowers, and their beauty enhanced by the addition of beads 
or embroidery. There is no end to their diversity. 

The Plastron Rosette 

While this rosette is made of any size, the ribbon should 
never be over two inches wide, or the center will not make up 
nicely. First, a round disk is cut from buckram and a dot 
made in its center. From this dot are drawn radiating lines 
terminating at the edge. These are used as guides in making 
the center. Bind the disk with a narrow strip of the ribbon 
from which the rosette is to be made. 

Take one end of the ribbon and plait it in the same man- 
ner used in making the loops for bows. Sew this plaited end 
on the under side of the disk even with the ribbon binding. 
The under side of the disk is the rough side of the buckram. 
Bring the ribbon over on the right side of the buckram and 
leave two inches to form a loop and plait it across the width 
of the ribbon, reversing from the plaiting at the beginning. 

Fasten this plaiting down on the right side of the disk 
as near to its edge as possible; at the distance of 1 inch from 
this second plaiting make the third, reversing from the sec- 
ond. When it is completed, push it up nearly to the second, 
and sew it to the buckram. That process gives the puffs 
seen in the center. Continue in this manner, reversing the 
plaiting each time and sewing the puffs down the line toward 
the center as they are made. 

}36 



A COMPLETE COURSE IN MILLINERY 

The moment the puffs begin to diverge from the Une 
because of being crowded, cut off the ribbon and begin another 
row at the edge of the disk, making the loop first and the puff's 
afterward. 

Sometimes only one or two puffs can be made before 
they diverge from the line, and in any case the row is never 
carried beyond the center. 

Watch that the ribbon is not plaited too closely in mak- 
ing the loop, or it will take up so little space on the edge of 
the disk that the loops will overlay each other. When clear 
around the edge the last puff is made by plaiting the end of 
the ribbon and turning it under and catching it down to the 
buckram so that it makes a puff like all the rest. 

The Plastron Rosette is made large enough to cover the 
whole top of the crown, or so small it merely holds a quill in 
place. It is sometimes sewed on the under brim of a large hat 
at the left back, or it can be used on the girdle. It is one of 
the most satisfactory rosettes, as it displays the lights and 
shadows of silk so very effecively. The Plastron Rosette and 
its construction is shown in Figure 3. 

Pin Shirring 

The shirring shown in Figure 4 is called pin shirring and 
is the finest shirring made. It is used in all mourning goods, 
especially crepe. It is also a delightful embellishment for a 
baby bonnet, or the underfacing for a hat. It can be turned 
to various uses in dressmaking as well. 

Pin shirring is composed of a series of small tucks 
varied according to taste. There may be five or seven tucks, 
then an interval of plain goods, and another group of two or 
three tucks. 

If the silk is intended for the underfacing of a hat, mea- 
sure off one inch at the top facing, turn half of it back. That 

137 



A COMPLETE COURSE IN MILLINERY 




138 



A COMPLETE COURSE IN MILLINERY 

will make a fold halt-inch wide. Run a gathering thread 
through it, just so far above the raw edge, as will prevent its 
raveling. This will make a ruffled edge, approximately one- 
third of an inch wide. The tucks are usually about one- 
eighth of an mch wide, that is, taking a quarter of an inch of 
silk, which is doubled when the tuck is formed. Whatever the 
width of the tucks, it is duplicated in their distance apart. If 
the tucks are one-eighth of an inch wide, they are placed one- 
eighth of an inch from each other. They are each run with 
a drawing thread, which is firmly secured at its beginning, 
and all tucks are run in the same direction from right to left. 
There are no cords or strings used in these tucks, but they 
are simply drawn up by the gathering threads which make 
the tucks, and the goods will fall into graceful, wavy effects. 
A small space has been left, without drawing up the threads, 
so that the constructive stitching may be seen. 

With a needle or pin, the fluted and wavy fulness of this 
shirring can be equally spaced and made both even and most 
beautiful. 

The quantity of silk required to cover a given space can 
be ascertained by referring to the table for shirrings. 

Cartridge Shirring 

This shirring is done over a round pencil, as shown in 
Figure 5. Only three stitches are required to hold each flut- 
ing in place. The ribbon or velvet must be sewed on some 
stiff background. If it should be buckram, first secure the end 
of the ribbon to it with three stitches — one in the middle and 
the other two near the selvage of the ribbon on either side. 
Place the pencil under the ribbon and bring the needle through 
the buckram and ribbon, with the needle at exact right angle 
to the buckram and barely touching the pencil, as it goes up- 
ward. If the needle should be in a sloping position it would 

139 



A COMPLETE COURSE IN MILLINERY 

bring the flutings too close together or too far apart, accord- 
ing to the way the needle was inclined. Make the stitching 
up one row and down the other until the required length of 
shirring is made. 

The cartridge shirring, if placed around a small crown, 
makes it look large. It can be made upon a bridle, which is 
merely a piece of buckram laid around the crown and about 
a half inch away from it. The buckram should be cut the 
height of the crown and the ends stitched together making a 
circle. Cover the rough or inner side of the buckram with silk, 
bringing it over the edge on the side where the shirring is 
placed. This conceals the buckram entirely. It is preferable 
to have ribbon velvet for the shirring, as it stays in place bet- 
ter than the plain ribbon and hides the stitching. 

The cartridge shirring may be sewed directly on the 
crown in the manner described if the sides are perpendicular. 
If the sides are sloping but the line is straight,, instead of 
curved, the shirring can still be used by quilling it around the 
top first and gradually spreading out each fluting toward the 
headsize. Keep each fluting in a straight line from the head- 
size to the crown top. 

The cartridge shirring can be introduced in short lengths 
in a continuous straight hat band, or it can be utilized in dress 
trimming. 

The Honeycomb Shirring 

The honeycomb shirring shown in Figure 6 is used pri- 
marily for evening hats. Suppose it is to be put on the top of 
a( crown. Cut out the silk, satin or velvet in the shape re- 
quired, allowing one-quarter extra in length and width foi 
shirring, according to the table given before. Crease a diago- 
nal line across the goods, and others parallel to the first, and 
about one and one-half inches apart, until it is all laid off in 

140 



A COMPLETE COURSE IN MILLINERY 

one direction. Now crease a line directly across, and at right 
angles to the others and make the rest of the lines parallel to 
this one and one and one-half inches from each other. This 
lays off the goods into squares. 

Take a fine needle and fine thread and with small stitches 
run the creases that all run one way. Commence with the 
needle on the same side each time, and see that the thread is 
firmly secured at the beginning. 

After all the threads are run one way turn the goods at 
right angles, and run the creases from that side, making 
squares of the fabric. In running the second group of threads 
be sure and go under the first set, where they cross each other, 
so that when it comes to drawing up the threads they will 
run freely from both directions. 

Next put the goods on the crown top. Pin the goods at 
the knots of thread on one side, where the shirring begins, 
leaving a fulness between the pins, according to the amount 
given in the shirring table. Draw the threads up, making the 
fulness one-quarter more than the distance covered, and fas- 
ten the ends of the thread about the pin which holds down 
the goods diagonally across from the place of beginning. Af- 
ter all the threads are secured in one direction, treat the cross- 
ing threads in exactly the same manner. With a long pin and 
a little patience the pufYs can be arranged so they will fall 
into place and can then be easily stitched to stay. 

A very ornamental effect is produced by using gold or 
silver thread for the shirring and sewing a pearl bead wher- 
ever the threads cross. A hat with this shirring needs very 
little trimming, as the needlework is too handsome to hide. 



141 



A COMPLETE COURSE IN MILLINERY 

LESSON XXIV 
Wiring Ribbon 

All bows which have loops that stand upright must be 
wired. This is done in three different ways. A lace wire can 
be laid near the edge of the ribbon, and the selvage brought 
over it, and blind-stitched down with small stitches. This 
method is shown in Figure 1. Catch the selvage on the very 
edge, lay it over the wire and take up a thread of the ribbon, 
just opposite the stitch in the selvage, and draw them together. 
Then put the point of the needle inside of the fold and take 
up a thread of the ribbon, simply to draw the sewing thread 
out of sight, and then repeat the first stitch. If the sewing 
thread was not drawn back under the flap of the selvage, it 
would show all the way down the hem. The wire is only used 
on one side of the ribbon, and should be put in before the 
loop is made. 

In the case of wiring an end, the wire should be extended 
along one side to the very tip. 

The second way of wiring ribbon is shown in Figure 2 
where the regular ribbon wire is used. This consists of two 
or three small wires enclosed in a tape. This wire is caught 
to the center of the ribbon and can be secured with a feather 
stitch, or nierely by tie-stitching it occasionally. Either stitch- 
ing should be done on the inside, and only on the back of the 
loops, and this wiring cannot be used for the ends at all. 

The third way to wire ribbon and the most substantial is 
to make a frame work, as shown in Figure 3, and place the 
ribbon over it. Let the selvage of the ribbon be far enough 
away from the wire so that by no chance the wire will be ex- 
posed. Tie stitch the wire to the ribbon, three times at the top, 

142 



A COMPLETE COURSE LY MJLLJXERY 




Wiring Ribbon and some popular trimmings 
Figures i, 2, 3, 4, 5, 6. See pages 142 to 147. 

143 



A COMPLETE COURSE IN MILLINERY 

and at each side, on the back of the loop on the inside. This 
leaves no stitching on the front of the loop. 

In the illustration, the ribbon, which is turned back so as 
to show the wire framework, should be brought forward over 
the top wire, plaited and sewed down at the base. Be careful 
not to draw the ribbon too tightly over the structure, or it 
looks stiff and loses all expression. Neither must it be too 
loose, or the front of the loop will flap like a sail. 

The two wire flanges shown at the bottom are to be used 
when the loop of ribbon is upright, on the top of a hat, in 
which case the flanges are bent around to lie flat on the crown 
top. The ribbon is eventually draped around the base, so as 
to conceal the wire structure. It is best to have a piece of 
buckram sewed underneath the crown top and extending down 
either side for a firm foundation for the upright loops and 
wire. 

The Simple Rosette 

One and three-quarter yards of 4-inch ribbon makes the 
simple rosette. If the ribbon is wider or narrower, the length 
of the ribbon required is more or less in proportion. Turn m 
the ends of the ribbon for one-half inch, and double the whole 
piece in the center of its length. This throws the two selvages 
together. Take a millinery needle and stout thread and run it 
along the length of the ribbon, about one-eighth of an ipch 
from the selvage, going through both thicknesses of the ribbon 
The stitches should be one-eighth of an inch long. Be sure 
that the end of the thread is well secured, as all depends 
upon its strength when the fulness is drawn up. Draw it up 
as tight as possible and dispose the fulness in four layers, on 
the under side, where the selvage and gathering come. For- 
merly a rosette was made by coiling the gathering round and 

144 



A COMPLETE COURSE IN MILLINERY 

round, but the lights and shadows of the silk are much better 
displayed by arranging the gathers thus : 



A / 


, 1 ' 


1 


; : ;| 


1 




1 




B v / 


\ . ^' ' 



Diagram for making Simple Rosette 



Draw up a to ^ and stitch them together, also fasten c to 
d and the outer lines being longer than the inner ones, a round- 
ed efifect is produced which makes the stem of the rosette. Af- 
ter the stem is arranged, run a needle through and through, as 
shown by the dotted lines. Do not draw it up very tight, but 
just enough so that no holes will show through the stem when 
the rosette is turned upright. Do the running stitch where the 
gathering threads come, not higher, for that closes up the ro- 
sette, nor lower, for that will expose the gathering threads. 
Turn the rosette over, on its stem, and arrange the whole frill 
by going over it like grandmother used to scallop pie crust 
edge. 

Press the rosette down in the center with a finger point, 
to see how the frill lies, and there will be found two places 
where a small tie stitch should be used. One where the ends 
come together to make the frill continuous, and the other op- 
posite, in the place the doubled stem turns back on itself. The 
rosette is now finished. When made of light colors in wide rib- 
bon it is very artistic for children's hats, or when in narrow 
widths for hair decoration, and when very small for waists and 
dresses. It is shown in Figure 4. 

145 



A COMPLETE COURSE IN MILLINERY 

A much fuller rosette can be made from the same ribbon 
by turning in the ends and folding it lengthwise, as described 
in the first instance, but the gathering thread is run one-eighth 
of an inch from the middle crease and through the two thick- 
nesses of silk. This throws all the selvages to the edge of the 
frill. It is not so rich in effect, but fuller. 

The Woven Band 

The woven band shown in Fig. 5 is made of No. 3 rib- 
bon. It can be made of any width of ribbon or any number 
of strips can be used. The one in the illustration has seven 
strips. The ends of the strips are first sewed to a narrow 
piece of buckram, so closely that they touch each other. The 
strips are laid out straight, and the one on the left hand is 
turned up and over at right angles. The second strip is laid 
over the first, the third is laid under the first, the fourth is put 
over he first, and so on alternating until the end piece of the 
first strip lies straight out on the table at right angles to the 
rest. 

The second, and all of the other five strips, are treated 
exactly as the first. When they all extend at right angles to 
the rows that were laid out first, take the upper ribbon on the 
right, bend it up and over on itself at right angles, bring the 
second over the first, the third under the first, and proceed with 
them all, as was done in the first instance, working the ribbons 
back to the left hand side. So the work goes on until the band 
is made of the required length. An estimate can be made of 
the zvidth by the number of strips used, and of the length, 
by folding one ribbon back and forth on the bias, keeping the 
folds at right angles, and at the width determined upon, until 
the length desired is attained. That will give the length of 
one strip, and it is then easy to estimate how many will be re- 
quired for the number of strips wanted. 

146 



A COMPLETE COURSE IN MILLINERY 

This band is most effectively made of two contrasting 
colors, pink and blue, gold and red, or of different shades of 
one color, as purple shading to lavender. 

When a sailor hat is trimmed with such a band made of 
silk or velvet ribbon, closed with a quill and cabochon, it is 
very fetching. 

Smocking 

Smocking produces the eft'ect shown in Figure 6. Take 
the silk or any goods desired, crease it in folds one-quarter of 
an inch apart. Put the first crease against the second crease, 
and just even with it. Let the needle pierce from underneath 
through one crease, and then stitch the second to it, sewing 
through them both three times, making a small knot. Now 
run the needle along the first crease underneath for about three- 
quarters of an inch and pierce it through to the right side, at 
the top of the crease, and stitch the second crease to it, with 
three overcast stitches. 

Continue in this manner until the first alid second creases 
are fastened together at equal distances. At the end where 
this is finished thrust the needle through the second crease, half 
way between the knots of thread already made. Draw up the 
third crease to the second and overcast with three stitches. 
Slip along the under side of the second crease, again equally 
distant between the knots of thread in the first and second 
creases. Pierce through the second crease at its top and bring 
up the third crease and stitch the second and third together. 
Continue in this manner to the end of the second and third 
creases. The third and fourth creases are sewed together ex- 
actly opposite the first and second, and the fourth and fifth are 
fastened opposite the second and third, and this process is 
repeated until the required amount of smocking is made. It 
is beautiful for the tops of crowns, especially on evening 

147 



A COMPLETE COURSE IN MILLINERY 

toques. In the latter case it may be stitched with gold thread 
or heavy embroidery silk in the same or contrasting colors 
of the silk or satin upon which it is used. Small beads are 
sometimes introduced where the joining of the creases is made. 
Hat bands often have an inset of smocking, and for neck 
yokes of waists or bands on the sleeves nothing is prettier. 




A modernized version of the First Empire Hat, characterized by hand work- 
Shirring, Plaiting and Smocking. 



148 



A COMPLETE COURSE IN MILLINERY 

LESSON XXV 
Bows and Rosettes 

Figure 1 is the Triple Bow, because everything about it is 
in groups of three. 

There are three groups of loops, with three loops in each 
group, and three centers, as a finishing touch to this bow. It 
takes one and three-quarter yards of ribbon three inches wide 
to make the triple bow. The short loop is made of five and one- 
half inches, and the two loops under it, take respectively six 
inches and six and one-half, inches. The two under loops can 




No. I The Triple 
Bow. Formed by 
three clusters of 
three loops. 



be made in one continuous piece, the loops separated out, and 
stitched so they will stay that way, when the short loop is 
placed over them. 

When the three groups are made, fasten them together at 
their base, merely stitching the edges together, leaving a hole 
in the center. Otherwise it cramps the center. Each loop must 
be made with little plaits at its base, all laid in the same direc- 

149 



A COMPLETE COURSE IN MILLINERY 

tion and pulled into place, by putting the thumbs on the upper 
side of the ribbon, and the forefinger on the under side, with 
only one thickness of the silk between the thumbs and finger, 
and then give a gentle but firm stroke parallel to the selvage 
of the ribbon, and away from the plaits, and the ribbon will 
fall into beautiful folds, displaying the light and shadow of the 
silk to perfection. 

The other end of the loop must be plaited in the same man- 
ner, only the plait must lie in the opposite direction. 

When these two ends are brought together to form the loop 
it will be found that the selvage of both sides will part equally. 
Whereas, if both ends were plaited alike, one side of the selvage 
would stand wide open, and the other would be tightly closed. 

The center is composed of three separate strips, which 
go individually around each group. The end of one of these 
center pieces is plaited very fine, so as to take little space, and 
straight across the width of the ribbon. The other end is 
plaited in the same way, but slightly diagonal, so as to make 
the upper selvage shorter than the lower. Each time that a 
plait is made on the diagonal, it is reversed in direction from 
the first plaiting, and as you hold it firmly in the right hand, 
run your middle finger from underneath to the middle of the 
center, allowing only one thickness of the silk over the finger. 
This produces the fluted efifect, in the middle of each center. 
The lower edge of the center, being longer than the upper edge, 
it extends downward, so that a needle may be drawn through 
the exact middle of the bow, and the three selvages, from the 
three drooping edges of the centers, can be caught with one 
stitch each, drawn together, and sewed fast on the wrong side. 
One hole will be visible in the middle of the bow. 

This bow is useful for the hat, and may be turned into 
a stickup, by doubling the length of the loops in one group. 

150 



A COMPLETE COURSE IN MILLINERY 

The triple bow looks well on the corsage and can be used in 
many delightful ways. 

Double Butterfly 
The Double Butterfly Bow, shown in Figure 2, takes one 
and one-half yards of three-inch ribbon for its construction. 




No. 2. The double 
Butterfly Bow; an ef- 
fective trimming sim- 
ply constructed. 



^ // 




The two standing pieces are cut separately. The lower 
one is sixteen inches long. Double it in the middle, across its 

151 



A COMPLETE COURSE IN MILLINERY 

width and measure off four inches from this center, along one 
of the selvages. Turn down the ends diagonally to the eight- 
inch selvage point and cut off the ends along this slope. If 
the line along which you cut is slightly curved outward, it 
will add to the artistic effect, although it be scarcely discern- 
ible to the eye. 

Next plait the piece along the middle line, in very fine 
plaits and throw the thread around them, and cinch them up. 
Turn up the pointed ends so they face each other, and throw 
one more loop of the thread around the center, just above 
the plaiting to make a little stem. 

The second standing piece is made exactly like the first, 
but its length is fourteen and one-half inches. This doubled 
in the middle, gives two pieces seven and one-quarter inches 
long. Mark off three and one-eighth inches, from the center, 
along one selvage, and cut to the point of the seven and one- 
quarter inch selvage. From this the process is identical with 
the first standing piece. 

The second piece is now laid over the first one, and 
stitched down. A small tie stitch in each piece secures the 
ends and makes the proper parting of the points at the top. 

A piece of ribbon twenty-two inches long, is divided into 
five parts, each one being four and one-half inches in length. 
This is kept in one continuous piece. It is plaited and stroked 
as before described, at one end of the ribbon, and the plaiting 
reversed at the first four and one-half inches, and this alter- 
nating is repeated every four and one-half inches until the 
whole piece is used. Turn it on the wrong side, bring the 
second plaiting up to the first end and stitch them together, 
making a loop. Form the next loop, and stitch it at its base 
to the second plaiting, the fourth to the third and so on to the 
end. 

152 



A COMPLETE COURSE IN MILLINERY 

This gives five loops, more or less elastic, so they can be 
arranged in a half moon about the base of the standing pieces, 
or they may be alternated, one inclining upward and the next 
downward, or they may be in a straight row. In any event, 
catch the middle loop first) in its position, at the center of the 
base of the uprights, and then curve the ends, as desired, and 
stitch in place. If the loops were sewed solidly together, they 
would not give, but would stay in a solid lump. 

The double butterfly, if used as a stickup, must be wired 
along the inner selvage of the standing pieces. This can be 
done before they are plaited, simply bringing the selvage over 
the wire on to the wrong side, and blind-stitching it down. 

The Aeroplane Bow 

The Aeroplane Bow, shown in Figure 3, requires fourteen 
inches of ribbon two and one-half inches wide. It is made 




No. 3 The Aeroplane Bow 

in two pieces. The lower one is the longer. It is seven and 
one-half inches in length. Double it in the middle, measure 
off 2 inches from the center along one selvage, and slope the 
ends, as in the Double Butterfly. The smaller piece is 5 inches 

153 



A COMPLETE COURSE IN MILLINERY 

in length, double it, across its width, mark off one and one- 
eighth inches along one selvage, from the double, and slope its 
ends in like manner to the first. 

These two pieces are plaited very small, in their centers, 
and laid side by side with the short edges together. 

Fasten them by a few stitches on the edge of the center 
of each piece, and take a separate piece of ribbon to cover 
this stitching, and complete the bow. This should be plaited 
at the top so that it would spread out ,and then the plaiting 
should be reversed at the bottom, and drawn very tightly to- 
gether so as to give this center of the bow a heart-like appear- 
ance. 

Four of these bows, about the crown of a hat, and con- 
nected by a ribbon whose plaited ends are hidden under the 
bows, make a snappy trimming. The bows are placed equally 
distant from each other starting at the left front, and are so 
disposed on the side crown that the longer ends lie partly on 
the brim. 

The Sunflower Rosette 

The Sunflower Rosette, shown in Figure 4, takes three 
yards of ribbon, anywhere from one and one-half to two 
inches wide. If you ask for ribbon one and one-half inches 
wide, you will be told there is no ribbon made of that width, 
and if you ask for two-inch ribbon, it will not measure that 
the rosette. Cut sixteen pieces, each six inches long. This 
requires two and two-thirds yards of the ribbon. Each of these 
pieces must be fishtailed at either end. This is done by fold- 
ing the ribbon in the middle, lengthwise, so the two selvages 
come together, then at the end, bend the center of the ribbon 
out to the selvage, so that the upper edge of the end will lie 
parallel and just over the selvage. Cut across the diagonal 
double, and it gives the notched effect called fishtailing. Next 

154 



A COMPLETE COURSE IN MILLINERY 

fold the ribbon in the middle, from top to bottom, and then 
fold again across its center, from side to side. Bend the 
notched ends upward together and then part them out, until 
one overlaps the other, for about one-third of its width. This 
is shown in the first fold of ribbon, at the side of the rosette. 
Take one small plait at the bottom, as shown in the second 




No. 4. Sunflower rosette. 

fold of ribbon, and stitch it in place. All sixteen pieces are 
similarly treated, observing carefully all the while, that all 
the points of the rosette are in the same direction that the 
overlapping end always comes from the same side, and that 
the plait at the bottom is of the same depth, and in the same 
direction, with each part. 

155 



A COMPLETE COURSE IN MILLINERY 

The sixteen pieces are then laid together, overlapping 
each other at the bottom, by half their width. When the 
lower part is sewed into a ring, the upper part is tie stitched 
into position, about half way from the center to the outer or 
notched edge. The tie stitch is made through the lower side 
of each notched piece, and merely pierces one thickness below 
it, so no stitches are visible from the outside. 

This rosette is supposed to be made of yellow satin rib- 
bon, and the center covered with a brown velvet button, made 
over a wooden mold, however, it can be made of ribbon of any 
color, and finished in the center with a piece of the ribbon 
shirred in the middle, and once on each side, and drawn up to 
fit around the central hole, as shown in the diagram. 

Two of these rosettes, made in contrasting colors, may be 
used on a crown top to good efifect, half of each one resting 
flat on the crown top, and the other half sticking straight up 
like a cock's comb. The rosette is appropriate for a wide 
brim, or made of smaller ribbon, it can cover a quill end. 

The Tailored Ladder Bow 

The Tailored Ladder Bow, shown in Figure 5, is made 
of ribbon the^ same width as that of the sunflower rosette. 
Each bow requires five and one-quarter' inches of ribbon. Turn 
in one-quarter of an inch at each end, as shown in the piece 
of constructive ribbon "A," turn under the lower corner, and 
bring down this end, along the lower selvage, as also shown in 
"A." Now double the bow lengthwise, and the flap that 
comes over to the lower selvage must be fastened by insert- 
ing the needle from, the back about the center of the side of 
the flap, and let the needle pass along in the diagonal fold of 
the side of the flap, until it is very near the bottom, where it 
should pierce the ribbon on to the wrong side, where it can 
be secured. Both ends of the bow, being finished in this way, 

156 



A COMPLETE COURSE IN MILLINERY 

the center is put on perfectly flat, and should be of the same 
width of the bow. These bows may be used in groups of three 
and connected by a ribbon, folded to the exact width of the 
bow center. 

A totally different effect can be given by making two 
little plaits under the bow center, both laid in the same direc- 







No. 5 The Tailored Ladder Bow 

tion. The center, also, has one plait at each end reversed 
from each other, which raises the middle slightly. 

These bows may be used singly, in pairs, or threes; the 

connecting piece may be omitted and they can be made of silk, 

velvet, leather, or any fabric, that is not transparent. They 

are unique for the corsage of a dress, or singly, can be worn 

at the neck. 

The Water Lily Rosette 

The Water Lily Rosette is made of one and one-half or 
two-inch ribbon. There are sixteen pieces, each five and one- 
half inches long, which are fish-tailed, as in the sunflower ro- 
sette. Take each of these pieces, and lay them in two plaits, 



157 



A COMPLETE COURSE IN MILLINERY 

lengthwise, each plait taking half the width of the ribbon. 
Let the plaits be in the same direction, and press them in place 
with a moderate iron. Take two pieces, lay them across 
each other, at right angles, and stitch firmly together, in the 
center. Two more pieces, at right angles are placed over the 
first ones, so as to space this beginning of the rosette into 
eight parts. Then the rosette is built up, always with two 
pieces at right angles, so spaced asj' to fill all the interstices 




No. 6. Water-lily Bow. 

A smart hat trimming, 
always in style 



of the ends. The last four pieces are caught with the thread 
over their center, and cinched down firmly in the middle of 
the rosette. Too much stress cannot be laid upon the neces- 
sity of using very strong thread and pulling it very tight in 
this construction. 

After the rosette is sewed, go over each petal with the 
fingers, pulling it sharply upward and arranging the general 
appearance artistically, when it will be found to closely resem- 
ble the water lily, from which it gets its name. 

This is a very pretty rosette for children's hats, or for 
the hair. It can be made in different shades of the same color, 
or in contrasting colors. It is useful to the millinei to use up 
short ends of ribbon. This rosette is shown in Figure 6. 

158 



A COMPLETE COURSE IN MILLINERY 

LESSON XXV 

The Fancy Alsatian Bow 

The Fancy Alsatian Bow is made of two pieces of three- 
inch ribbon, each of which is eight and one-half inches long. 
The ends are all fishtailed, and both pieces plaited, in the mid- 
dle of their lenp^th. They are then laid across each other, so 



No. 7. Fanq: Alsatian Bow 

the ends will be slightly apart. Sew the two pieces together, 
where they cross each other. Take fifteen inches of the ribbon, 

159 



A COMPLETE COURSE IN MILLINERY 

and lay it off in five sections of three inches each. Plait it 
exactly as in the Double Butterfly Bow, but do not bend it 
into a crescent. Place the loops in the center of the two 
crossed pieces, and sew down the middle loop first, then the 
end ones. The central loop can be curved like the letter "S," 
and its ends stitched down, so that it will retain its shape. 
This bow, when made larger, is beautiful for hat trimming, 
or made of narrower ribbon or velvet is fine for the neck. 





A version of the Alsatian 
Bow, used as front trimming 



A novelty Butterfly Bow, cleverly 
placed 



160 



A COMPLETE COURSE IN MILLINERY 



LESSON XXVI 
Renovating Stocks 

Either the private pupil or the professional milliner will 
find it invaluable to understand renovation. After a season in 
which much of the stock has been stored away, the milliner 
finds material creased, flowers flattened, and feathers out of 
shape; it is a great satisfaction to know how to restore them 
to their first freshness. 

Put water in a tea kettle, so that it will barely reach the 
point where the spout begins. Always have the spout perfect- 
ly free to conduct the greatest quantity of steam. Suppose it 
is new velvet which has become badly creased : as soon as 
the kettle steams with force, let two persons hold the velvet, 
one at either end, and do not take a space of more than a 
yard at once. Clasp it on the selvage, in the four places neces- 
sary to hold it spread out firm and smooth. Pass it over the 
steam as near the spout as possible not to touch it. If it is 
touched by the spout it may make a line on the velvet. Pass 
the velvet back and forth over the steam, at all times hold- 
ing it very taut and firm. The back of the velvet should in 
all cases be next to the spout, and the steam pressing through 
the fabric raises the nap, and erases all evidences of crease. 

When this is accomplished, be very careful not to touch 
the nap of the velvet, for it is saturated with moisture, and 
will easily press down. Lay the piece on a table until it dries. 
If there are other creases, repeat the process till it is all smooth. 

Steaming Velvet 

If the velvet has been used before, and the creases come 
from wear, they are harder to eradicate, but it only takes time 

161 



A COMPLETE COURSE IN MILLINERY 

and patience. If repeated efforts as described do not take out 
the creases, heat an iron moderately hot, rub a damp cloth 
over the back of the velvet, and pass the velvet over the face 
of the iron, as it sets up straight on the table. This will some- 
times raise the nap, and obliterate the lines, when nothmg else 
will, as the steam is then generated in the velvet itself. Care 
must be taken that the material is not bent around the iron 
too much, or it will make new lines on the iron's edge. Silks 
and other fabrics can be renovated the same as velvet. 

Steaming Velvet Hats 

If a velvet hat looks dowdy, it can be steamed on the out- 
side, but not so as to soften the buckram on which it rests. 
Passing rapidly! through the steaming vapoi, so it will only 
touch the outside, and watching that no thumb marks are left, 
the hat will be greatly improved. Another method is to take 
a common paint brush, dip it in gasoline, and brush the velvet 
with it This not only freshens the velvet, but cleans it also. 
Braids, provided they are not filled with too much sizing, are 
greatly benefited by slight application of steam. 

Treating Maline and Chiffon 

So much light filmy material is thrown away that is capa- 
ble of being turned to good use if the possessor but understood 
renovation. Take maline and chiffon for example: if they are 
held firmly and treated exactly like the velvet, they will smooth 
out and can be used for retrimming. They do not require so 
much steam as the velvet, for the slight stiffening they possess 
readily melts before the steam, and only takes a moment to 
reset. 

Very often the edge of the maline has to be cut off because 
it cannot be held so the steam can straighten it without burn- 
ing the fingers. That is something that always must be guard- 
ed against. Maline has a raw edge anyway, so it does no harm 

162 



A COMPLETE COURSE /A' MILLINERY 

to cut the edge with scissors. Try renovating a chififon veil 
and see how greatly it will be improved. 

Renovating Flowers 

Flowers are fine subjects for renovation. If they are new 
and only shopworn, a slight breath of steam and a touch of 
shapijig fingers will restore them perfectly. If they are crushed 
and dirty, a bowl of gasoline will cleanse them. If it is a rose, 
turn petals downward and souse the flower up and down until 
clean. If one bath does not do it to satisfaction, try another, 
and even then, if it still shows streaks, they will disappear in 
after treatment. Xcvcr take the flower from the gasoline to 
the steam, or you will have a fire. Clean them one day, and 
let them air till the next. If the cloth of the flower is of good 
substance, silk, batiste, linen, velvet or chilTon, it will come 
out beautifully when finished. Some of the very ravelly, sleazy 
flowers, no one could better, and if they are stiff and filled with 
paint it is the same. The flowers that are soiled from use 
should first be thoroughly cleaned with gasoline and dried. 
The next day put them to steam and work with them straight- 
ening the petals and getting good form for the flower. Mix 
tube paint, the kind used for landscapes and portraits, with 
gasoline, until the tint or shade is made that is desired. Dip 
in the flowers, turning them and looking to see how the dve is 
taking. 

To Mix the Colors 

It will be best to mix these colors with a bristle brush and 
pour off into a bottle and cork very tight. If it is done in a 
bowl, at the time of coloring, there is apt to be particles of un- 
dissolved color at the bottom, and if it adheres to the flower, 
it makes a dark splotch. If it has to be done quickly, mix the 
color and gasoline with a bristle brush and strain through a 

163 



A COMPLETE COURSE IN MILLINERY 

very thin cloth. The work must be done swiftly as the gaso- 
line evaporates very fast. Pour more gasoline in if the solu- 
tion diminishes too rapidly. 

Tinting Flowers 

Let us suppose it is a rose of batiste we are coloring : We 
dip it and make it a delightful pink, first. Then take a little 
camel's hair brush and mix a bit of the tube paint on the side 
of the bowl, making a darker shade, and touch the center of 
the rose, and a streak in the middle of the petals, from the 
stamens toward the point of the petal, going but half way the 
length. Do this while the rose is yet very damp, and the color 
will diffuse and blend perfectly. If the petals of the rose are 
to be darkened on the edge alone, immerse the flower first in 
the color for the body of the rose, then have a saucerful mixed 
of a darker hue, turn the rose with the petals down, and merely 
dip the tips in the second solution before the first is dry. Place 
the rose on the edge of a table or shelf, and set an iron on the 
stem, so that the rose will hang downward till dry. The edges 
of the petals may need attention after the flower is per- 
fectly dry. Take a small pair of scissors and clip ofif 
all projecting threads, but do not go around the petal 
in a continuous cut and leave it looking like it had been 
shaved. Take the small clips with the scissors held at 
different angles, or if the cut has to take all the edge, 
pass the edge between the forefinger and thumb, after- 
wards fluting it outward a little, and this will dispose the 
threads so the petal will not look too set. If the form of the 
rose has been injured by the coloring process, after it is per- 
fectly dry it can be re-formed by steam. The steam will not 
injure the color. Should the rose be half blown, and open 
too much with steam, put a little rubber band around it until 
it dries. Should the flowers be small and surrounded with 

164 



A COMPLETE COURSE IN MILLINERY 

foliage, so that it is not easy to dip them in color, apply the 
paint with a camel's hair brush. 

White Flowers Color Best 

White flowers necessarily color best, but all light ones 
even when shaded, take the paints in a very satisfactory man- 
ner; and even dark flowers that have some light spaces are 
greatly improved. 

The green leaves of foliage will only stand a touch of 
steam, when they can be smoothed out with the fingers. If 
separated from the wire in the middle of the leaf, apply a little 
adhesive. Feathers can be renovated by passing through a 
vigorous spout of steam very quickly and then shaking in 
warm air. Be careful not to wet them too much with the 
steam. 

Cleaning Laces 

Black lace can be cleaned with pure gasoline, and when 
rinsed in a second bowl usually looks better than when pur- 
chased, as all evidence of the sizing is washed from the back 
of the lace, without diminishing its crispness. Fold the lace 
until it will conveniently go into a bowl and souse it up and 
down, until thoroughly washed. Black mesh veils can be 
renovated the same way. Silk in ribbons or yard goods can 
be beautifully colored with tube paint and gasoline. A white 
scarf of silk, maline, or chiffon can be given shaded ends, by 
dipping the end first in gasoline, and then in two shades of 
the color, which will blend when the ends are damp. White lace 
can be made to take most attractive colors, and is one of the 
most satisfactory fabrics to renovate. Clean it with gasoline 
first, if it is soiled, and immerse it, all at once, in the paint, so 
that it will color evenl;v. The color when damp- is more vivid 
than when it is dry so allowance must be made for that fact. 

165 



A COMPLETE COURSE LN MILLINERY 

Dyes to Match 

A fashionable dressmaker matches laces to the color of 
her dresses. She buys a fine cotton lace, colors it, uses small 
beads, and heavy embroidery silk to outline the design and 
charges dollars per yard in the bill, where it costs her cents; 
but her knowledge and artistic taste have made an original 
thing of beauty, well worth the money..* 

Some hat braids take these colors nicely, and some not 
Be very careful that no drop of water gets into the coloring, 
or it would spoil everything. In the use of these colors, too 
much stress cannot be laid upon the danger of mixing hre and 
gasoline. l\ever on any account bring the gasoline near a 
blaze and do not try to re-form the flowers that have been 
colored until they have dried for a day. 

To Mix the Colors 

The following list gives the names of the tube paints, and 
the coloring they will produce by mixture with gasoline : 

Tube Paint Color Prduced 

Mauve Violet 

Naples Yellow Cream Color 

Geranium Lake Pink 

Prussian Blue Light Blue 

Black Gray 

Burnt Umber Brown 

Lake and White Rose 

White and Brown Chestnut 

White, Blue and Lake Purple 

Purple Lake Lavender 

Indigo and Lamp Black .... Lead Color 

Black and Venetian Chocolate 

White and Green Bright Green 

Light Green and Black .... Dark Green 

166 



A COMPLETE COURSE IN MILLINERY 

Red and Yellow Orange 

White and Yellow Straw Color 

White, Blue and Black Pearl Gay 

Chinese Blue .... Chinese Cloth Color 

Chrome Green Nile Green 

Raw Sienna Yellow Brown 

Deep Chrome Bright Yellow 

Alizarin Carmine Bright Red 

Venetian Red Brick Red 

* Velvet, chiffon, maline, batiste and cotton laces color the best of any 
fabrics. 




CAUTION. — Do not use gasoline in a room zvhere there is a lamp or 
gas burning or a fire. Never strike a match in the same room 
zvhere the gasoline mixture is being used! 



167 



THE MILLINERY INDUSTRY 
as developed by 
GAGE BROTHERS & CO. 

offers the intelligent woman a 
pleasing vocation and a successful 
business career. 



We have a constant need in our es- 
tablishments for women of this class. 




PRODUCERS 

or CORRECT 

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Three out of four dealers making a real success out 
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TRATED MILLINER. 

Explicit dimensions for making all hats; careful 
descriptions of materials, colors, trimmings, etc. 
The New York Fashion Letter in THE ILLUS- 
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Our Paris correspondent naturally has access to all 
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of every novelty seen in Paris. . 

Our "Lessons for. Beginners" and, "The Copyist" 
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$6.00 THE YEAR 
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THE ART AND CRAFT OF 
RIBBON WORK 

The Most Wonderful Book 
on Ribbons Ever Published 

Beautifully colored pictures, showing every detail of con- 
struction and the final finished articles. 

Contains hundreds of pictures of beautiful Conceits, Rib- 
bon Ornaments for Hats, Corsage Bouquets, Coiffure and 
Lingerie Decorations; all carefully described and made 
eas}^ to copy. Illustrated details of machine-made Garni- 
tures and Motifs for Millinery. 

Below is tabulated a partial list of its contents, but the 
value of this book cannot possibly be appreciated until 
you actually see the book itself. 
Decorative Bows Hops Rosettes and 

Lattice of Roses Cocades 

Ribbon Fruit, Etc. Sunflower 



Sash 
Corsage 
Lingerie 
Slippers 
Girdle, Etc. 

Flower Making 



HoUday Novelties Wheel 
-3. ^ , . Sunburst 

Pin Cushion Toy-Top 

Hat-pin Holders Pin -Wheel 
Sewing Cases _ _ Morning-glory 



Large FuU Blown Collar and Cuff Maltese Cross 



Rose 
Moss Rose 
Cherokee Rose 
Corsage Rose 
Pompon Rose 
Wild Rose 
Passion Flower 
Poinsettia 
Violets 
Snow-ball 
Lily. 
Dahlias 



Sets 

Vanity Bouquets 
Candle Shades 
Tie Racks 
Fan Bags 
Ribbon Containers 
Book Marks 



Cravat 

Aeroplane 

Fleur-de-J-iys 

Ladder 

Wheel 

Cascade 

Pyramid 

Machine-Made 
Motifs 

Meteor 



Star Fish 

Buckle Motif, Etc. Triple DahHa 

Uraduated 
Bows for All Pur- Pond Lily 
poses and All Ear of Corn 
Occasions 



Powder Puff Con- Millinery Bows 



tamers 
Catchall Bags 
Picture Frames, 

Etc. 



Butterfly 
Alsatian 
Rose Cross 
Crescent 



Scalloped Band 
Braided Band 
Six-tier Rosette 
Double Crescent 
Wasp Crysanthe- 
mum, Etc. 



Examine this Wonderful Book 

"The Art and Craft of Ribbon Work" will be sent 
to you for examination. Keep it five (5) days; 
then, if satisfactory, mail us Two ($2) Dollars. 

The Illustrated Milliner Company 

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Please send me a copy of "THE ART AND CRAFT OF 
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return the book in Five Days. - . 

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EVERY MILLINER SHOULD 
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1000 and 1 Secrets On 

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How to tint and dye flowers, velvets, laces, chiffons, malines, rib- 
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